NEWSLETTER YOGTANTRAGAMA ISSN NO: 2454-888X Issue 11

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YOGTANTRAGAMA ISSN NO: 2454-888X

Jan- March 2018

From the Editor in Chief’s desk: By Swami Paranand Tirth

EDITOR IN CHIEF: SWAMI PARANAND TIRTH

Twilight, a Sketch by Frederic Edwin Church, 1858 Picture courtesy artistnetwork.com From the chief editors desk .. none of the intuitive insight into one’s own essential nature i.e. the self evident shiva . The twilight zone of Shakta and Shambhava Shiva or the ultimate as a vedantist would put it Shambhava is a mind set born of perfect is not a produce of any modification, he isn’t quietude a well controlled movement of senses attained through any effort ,or is not a resultant towards their perception, a calm placid mind of any refinement or rectification nor is the that absorbs all divergence and a clear head or universal self cultured or processed in any distinct discriminatory wisdom are the sine quo manner so not only refraining from all dynamic YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 2

pursuit is the key but also a well calculated and knowledge reinforces karmas and makes them conscious withdrawal from the objective more efficacious and fruitious . phenomena is equally essential . Gita tells us “One should withdraw by and by with an The Gita vindicates these as intelligence guided by patience . Having seated the mind in the self disperse all thoughts and “A man desirous of climbing upon the seat of "think nothing". This not thinking any thing or yoga must perform karmas where as the same transcending all expressions is what is referred man when actually gets seated in yoga .i.e. to as shambhav upaya . divine communion must refrain from the divergent action and retain quietude and Without a genuine preceptor sharing his placidity”. spiritual insight with you this process is as tedious as emptying an ocean by removing आ셁셁क्षो: मुनेर्योग ं कमकम ारणमु楍र्यत े water with the tip of kusha blade . This avesh or trance dawns upon an aspirant ,of the most र्योगा셂ढस्र्यतस्र्यैव शम:कारणमु楍र्यत े । high degree of competence ,by the awakening of a preceptor which again is without any verbal This means to say that till you attain the state of communication ,as he i.e. the aspirant is shambhavi continue with karmas and after you completely thoughtless is called shambhava . have actually gained it shun all karmas . There is yet another hard core ilk of thinkers they ShAkta upaya is all about incessant effort and provide the axiom of - it’s better not to soil strenuous exercising of the individual will . This your hands instead of washing it after they are is the most cherished and applauded feat of dirty . If karmas have to be abandoned to human endeavours ,but it is only penultimate identify oneself with one’s essential nature why and the most paradoxical scheme of events is start them in the first place . This lot traces their that there is no bridge connecting the lineage back to the four offsprings of brahma or penultimate and the ultimate ! . Till the god the creator .They were inspired by their realisation of the per se unison with the supreme father to multiply their progeny but they defied self one is obsessed with the notion of this him and sought to attain and retain their realisation as a product of some effect .The essential nature . The three lineages became so Upanishads propound that "the undoing is not complicatedly juxtaposed in the oriental accomplished by doing " undoing in this context pantheon that an individual was not left with anything clear cut to pursue . aims at अकृ त: or emancipation which is per se where as कृ तेन means through karmas or efforts Agamas and Tantra are the instruments of . so there has been a great dispute over relating the munificence of Parameshwara which as it the two means i.e. shambhav and shAkta or were dawned upon humankind to deliver it from unrelating the two . There have been sects this jargon of directionlessness. There which are deeply rooted in the societal schema of Charya ,yoga and Jnan is to reticulum based on either only the former or an graduate an aspirant successively into the cult admixture of the two or exclusively on the latter of self realisation through shambhav upaya and even by rejecting the former in toto . to evolve the novice as competent enough for the ultimate epiphany by training him through There are staunch ritualist who deny even the the means of effort and concentration . consistency of that portion of the Vedas which is not conducive to karmas specially the Vedic Theravada Buddhism also adopted the same rituals .Then there are others who would rather method of the sequence of sheel samadhi and correlate both as conducive to each other . prajna/vipassana. This is to facilitate the Action leads to knowledge and intuitive insight called prajna and vipashyana by an assiduous adherence to the preceding steps YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 3

of sheel or conduct and samadhi or meditation . spontaneously ,without repeating his mantra or The Tantra do not expect a guru to induce the meditating on his profile or by not even trance of shambhav straight away . it may worshiping his relics and icons as per the crashland or rapture the subtle core of the scriptural injunctions”. novice . charya for refining the grossser part of the aspirant yoga the subtler one and causal Swamiparanand tirth portion of the aspirant by shambhav upaya is the Founder President and CEO crux of almost all agamas . Needless to say that YTA yoga Tantra and Agama (inc.) cal .USA. every aspirant has his own gradation of Head administrator refinement so one might as well go briefly about Yoga Tantra et agama centre the pre requisites and begin with the shambhav Montreal Quebec Canada . straight away. Utpala one of the most illustrious preceptors of the shaivite doctrine, only salutes such Adepts of real devotion and doesn’t compare himself to them .

नध्र्यार्यतोनजपत:स्र्या饍र्यस्र्याववधिपूवकम ं

एवमेवशशवाभासस्तंनुम:भक्ततशाशिनम ्

“We make obeisance to all such great devotees who are possessed by their own shiva hood

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Editorial articles and papers which have been published in previous issues.

To begin with we have an interesting and analytical write-up by Niraj Kumar on the significance of ‘lotus’ in Indian and other eastern traditions. The author observes that apart from the simile of lotus used to describe the rising from the samsara & achieving full blooming Enlightenment, it apparently contains the properties of an “Enlightened Being” unto itself and goes on to analyze it in detail. Humanity has always been torn between making ‘Quitessence of the highest Purpose: A efforts and realizing that most of the times the translation, introduction and analysis of Sri result has had nothing to do with the said effort. Abhinavagupta’s Paramarthsara’ is the title of The momentary pleasure or satisfaction one an erudite article by Dr.Jeffrey S. Lidke. In this might derive at completion of a task or a duty is essay, the author has attempted to illuminate too short lived and thus gives rise to a new how the Paramārthasāra, a seminal text by journey towards a new effort, new challenges , Abhinavagupta serves as a guide for the process new ways of testing ones capabilities. of the awakening and internal ascension of kuṇḍalinī-śakti. Many a times an entire life-time may be spent in ‘proving’ oneself to the family society and to This is followed by an enlightening article by oneself. This results in taking pride in such Prof Subhash Kak on ‘Art and Cosmology in achievements and often one may get obsessed India’ . According to him the best way to with it and start identifying oneself with one’s understand India is through its art and the success and position not realizing how trivial it cosmology. He stresses that textbook narratives is to associate ones happiness with it. often overlook the synthesizing principles that Explaining the importance of Shambava upaya represent the grammar of Indian culture, and in the editorial our guru Swami Paranand Tirthji they are much like the accounts of the six blind stresses on the need to converge all ones people who encountering an elephant describe it thoughts and actions and withdraw from excess as wall, spear, snake, tree, rope, and fan, objectivity. For an aspirant who truly wants to respectively. experience the bliss of Shivahood Shambava upaya is the key. Shambhava is a mind set born Next we have Swamiji’s conversations with Dr. of perfect quietude a well controlled movement Sisir Roy on the nature of vibration and of senses towards their perception, a calm placid quantum vaccum, a notion that has been mind that absorbs all divergence and a clear engaging and intriguing modern day scientists. head or distinct discriminatory wisdom are the The questions raised by the latter have been sine quo none of the intuitive insight into one’s succinctly answered by Swamiji citing relevant own essential nature i.e. the self evident shiva. examples wherever necessary. The concepts that quantum physics is dealing with have been With the blessings and divine guidance of contemplated upon by hoary seers and given Swamiji we have been able to publish ten issues due importance in their writings. Some of these of the YTA newsletter and in this eleventh issue notions like Spanda, Maatrisva and Chidakasha we are re-publishing some thought provoking have been discussed in these extremely perceptive and discerning correspondences. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 5

Following this we have a nostalgic piece by Ambika Talwar about her pilgrimage to the holy land of Rishikesh in the foothills of mighty Himalayas. A lucid narrative with bits of poetry strewn in between makes it a very charming read. While on one hand it describes the wonderful experiences and interactions, on the other it also pleads for maintaining the sanctity of such holy places and not reduce them to sites of tourist attraction.

In addition to these we have the second and concluding part of the travelogue ‘Southern Sojourns’ by Dr G.L Kaw, narrating the author’s latest visit to South Indian temples. This illustrated and detailed narrative provides a very handy information for future pilgrims with apt references to the historical and legendary incidences.

In the end we have a brief description about our website and google classroom where Swamiji teaches the faraway aspirant about the arcane secrects hidden in agamic texts.

(Dr.Geetika Kaw Kher is Asst. Professor at Amity School of Fine Arts (ASFA) and teaches History of Art, Aesthetics and Art Criticism)

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system of the Sun, propensity of atom to gain stability with 8 electron in valance shell, eight- fold symmetry as the potential highest solution for a United Field Theory in mathematics seems to be entrained at some common junction. Similarly, Gautama’s Four Noble Truths with the fourth as the way to transcend the first three reveals the four- fold structure of being as well as language in Indic system. Vedic rishis Lotus, Full Moon, & Buddha’s discovered ‘catusyapad’ as the way to Enlightenment comprehend the reality. There are set of threes and the fourth as the way to transcend. Fourth is Niraj Kumar the turiya. Three gunas, three purushartha, three On 4th May, 2015, Buddha Jayanti was Vedas, three states of consciousness, three -fold celebrated. This is the Buddhapurnima division of Kala(time) and so on. And the fourth Day(Vesak), the day of Buddha’s in each aspect signifies the transcendence. Enlightenment. Gautama was born on Full Gautama’s Four-fold Truth is encapsulated in Moon, attained enlightenment and died similar structure. Fourth is the way to transcend (Mahaparinirvana) on Full Moon. Full Moon & and as found in Indic tradition the Way is Buddha’s life/legend is deeply intertwined. It is always Eight-fold. I am tempted to put said that after five auspicious dreams and 6 therefore Gautama’s awakening as the years of wandering, at the age of 35; when he awakening of a Vedic seer reiterating the Truth sat under the sacred fig tree(Peepal tree) at discovered by the predecessors. Bodhgaya, with a vow that he won’t get up But, whereas Vedic seers were more engaged without knowing the Truth; there was tremor of with the sun and fire in their approach towards joy across universe. He passed through 49 days rituals, it is strange that Buddha’s disciples took of meditation and four stages of consciousness. up the opposite, “Moon and water” to Finally, he achieved True knowledge, the wheel symbolize their own way of liberation. Hence, of karma, law of causation and the eight-fold we find how in Buddha’s legend, the blooming noble path to cross the cycle of trans-migration. Moon is projected as the defining characteristic With the full moon rising, his mind passed of important events. through various states and before the dawn, he gazed at the morning star and realized that the Lotus (Kamala, Botanical name Nelumbo realization is stable and permanent like this nucifera Gaertn)has always been a sacred morning star in the vast sky. In Buddhist flower in the East due to its peculiar properties. symbolism, blossoming lotus describes Most of us are aware that it grows in muddy metonymically the arising of Buddha-nature. water, moves upward towards light. Above the Full Moon, lotus and Buddha nature blooms in surface of dirty water, it blooms. Buddha used structural resonance. the simile of lotus to preach the virtue of purity, emergence and achievement. It is interesting I am deeply engrossed comprehending the that Buddha is shown as sitting on a lotus underlying connection of symbolism and events flower in Lotus position (Padmasana) with a and discourses. Gautama’s eight fold path, lotus in hand and a 1000-petalled lotus Panini’s eight fold realm of matricakra blooming in head. Like Full Moon, lotus concerning origin of linguistic universe, eight- encapsulates Buddha’s enlightenment. Both fold theory of music, eight kind of rasas in symbolisms converge in head. Buddha saw aesthetics, eightfold yoga of Patanjali, eight fold 1000 Full Moon in life. He departed at the age universe of saktis with ninth, the bindu as of 80 (~1000 full moons). Buddha with potentiality) in SriCakra/Tantra, eight planet YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 7

thousand-petalled lotus blooms had auspicious experience of thousand full- moon night. I am particularly surprised with the recent advances in unraveling biological properties of lotus. Lotus is a unique plant that regulates the temperature without any neuro-endocrinal system as found in the warm-blooded animals like human beings. Surprisingly, the temperature range is very narrow (86-95 degree F). Lotus is exceptional in increasing oxygen Apart from the simile of lotus used to describe intake and release of more carbon dioxide at the rising from the samsara & achieving full night used in converting more carbohydrate to blooming Enlightenment, it is apparent that energy just like warm-blooded animals do lotus contains the properties of an “Enlightened during cold. This heat production tapers off at Being” unto itself. It rises from beneath and the dawn. Seventy lotus flowers can produce as immediately returns back to the source. With much heat as a human body. the bloom, it prepares to shed the seeds, like an enlightened being who is active to propagate Lotus has another property to self-cleanse. virtue. The flowers and the plants rise with the Microscopic structure on lotus leaf creates a dawn and set in the dusk in consonance with water-repellant surface. Raindrops can’t stick solar rhythm and yet are active during night by and these roll off cleansing the dust. This producing more heat attracting countless property has been termed as “lotus-effect” in the insects. When other plants sleep, lotus is active field of nano-technology. Now, nano-engineers and awake and helps the needy multitude with as well as NASA rocket scientists want to warmth like a compassionate Being. Each part harness this property of lotus to create a self- of lotus is edible and useful. May it be rhizome, cleansing toilet, rocket shell, clothes etc. roots, stem, flower and seed just like the full utility of an Enlightened being in every aspect. For the welfare of the world,lotus continue to self-cleanse, a virtue aspired by seekers. Surprisingly, lotus maintains temperature which is in the range of an Enlightened being i.e. slightly below normal human temperature due to the cooling caused by secretions when the energies awaken each part of brain (shithlikaran). The sign of an enlightened being is hypothermic condition described as the “cool shower of the Moon” in scriptures and esoteric tradition. This happens due to a coherence of cells at highest level that entails maximum efficiency of energy and minimum production Lotus seeds are also known for its endurance of heat. If one sees the open pod of lotus flower and permanence. Lotus seeds have been found that contains seed in honey-comb structure, this dormant for thousand years and then suddenly looks similar to the image of thousand-petalled sprouting into a healthy plant. This property is lotus bloom in the head of a Buddha. From seed under investigation to learn more about anti- to flower, lotus contains same property of ageing properties. Lotus pod looks like human blooming, self-purification, attraction and heart and on blooming like the cerebral surface. utility. Seeds contain the secret of immortality. Heart contains the potentiality to bloom into full Lotus symbolizes flowerification of Perfect awakening of mind. Being. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 8

This is the reason that India, the land of spiritual fervour, has adopted Lotus as the National Flower. The Vedic seers mention the flower under the name of Pundarika. In Hindu cosmogonic myths, lotus is associated with the creator Prajapati. In The Mahabharata, the creator God, Brahma, is mentioned as having sprung from the lotus that grew out of Vishnu’s navel. Lotus is also known as the Sripushpa- the auspicious flower. The Srividya sadhna which is the highest ritual worship of the universal creatrix in the form of Mother Goddess amply demonstrates the auspiciousness of the flower. The deity holds the flower in her hands. In fact, iconographic representation of almost every female deity in Indic tradition shows a lotus bud in the hand.

Lotus is also associated with supernatural birth.

The bud appears as a human womb. The Second Buddha, Padmasambhava is said to be lotus- born. There are plethoras of birth-stories associated with the lotus flower. In fact, the mythological land of immortal sages is said to be abundant in lakes filled with lotus. Lotus is associated with the idea of immortality not only in Indic tradition, but also in other world- cultures. It has something to do with the transformation of lotus into the shape of cobra upon its death. Even in death, the lotus inspires. It is not without symbolic underpinning that Kundalini, the cobra-shaped esoteric energy that can take a seeker to the realm of immortality, is assumed to pierce the lotus-cakras of a yogi/tantric. And in this symbolism is condensed the Indian spiritual wisdom!

(Niraj Kumar is associated with Society for Asian Integration. He is a disciple of Swami Ranganathanandaji Maharaj of Ramakrishna Mission.)

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Śaivism has been herewith attempted.

Keywords: ābhāsa, Anuttara, kuṇḍalinī-śakti, Paramaśiva, Para Samvit, sahāsrāra, satguru, tattva, Trika, twilight language.

Introduction

The writings of the famous Tāntric guru and philosopher, Abhinavagupta (ca. 975-1025 C.E.), represent some of the finest reflections of Indian religio-philosophical thought. Of his many extant works, the Paramārthasāra (Quintessence of the Highest Purpose) offers a Quintessence of the highest Purpose: A succinct distillation of Abhinavagupta’s literary translation, introduction and analysis of and philosophical genius while also SriAbhhinavagupta’s Paramarthsara encapsulating the system of esoteric practices at

the heart of his Tāntric system. The one- (Section of the text sans references: Complete hundred-and-five verses of this composite text paper published in Journal of Indian lay out the śaivite vision of the universe as the Research, Vol 1, No.4, Oct-Dec 2013) unfolding of a unitary consciousness, called

Dr. Jeffrey S. Lidke verily Paramaśiva, Para Samvit, Caitanya, Cit Abstract Śakti, and Anuttara. Through a process of hierarchical manifestation, this Supreme Abhinavagupta (ca. 975-1025 C.E.) is the Principle assumes the form of thirty-six evolutes greatest synthesizer of Indian Tantric thought (tattvas), and in this way, projects the universe and practice. His works influenced and shaped of diverse objects upon its own screen. At the theoretical paradigms in the field of Indian core of this universal projection, the absolute aesthetics, Tantra, literature, and philosophy. assumes the form of the limited human In this paper, the author examines the 105 experiencer. Veiling itself with the three cloaks verses of Abhinavagupta’s Paramārthasāra (trimala), Paramaśiva assumes self-limitation (Quintessence of the Highest Purpose) in (saṅkocana).Yet, this contracted experience is which Abhinavagupta articulates his only temporary. Through the awakening of philosophy of absolute monism, known coiled power (kuṇḍalinī-śakti) received in popularly as Kashmir Śaivism. An earlier Tantric initiation (dīkṣā) the limited agent Paramārthasāra was composed by the South (kartā) internally ascends the ladder of tattvas and reclaims his status as the omnipotent Indian legendary saint, Ādiśeṣa during the Absolute. sixth century, some four hundred years before Abhinavagupta. Abhinavagupta’s reinvention In this essay, I have attempted to illuminate of this older text indicates the constant how the Paramārthasāra serves as a guide for transaction of ideas between Kashmir and this process of the awakening and internal South India, Vaiṣṇavite and Śaivite sects. The ascension of kuṇḍalinī-śakti. Towards this end, present shape of Indian thought emerged only I have rendered my own translation of the text as a result of the fusion and appropriation of and have written a brief introduction and different thought-streams. A translation of the commentary with the aim of framing for the Paramārthasāra along with an introduction reader the context in which Abhinavagupta penned his masterful text. In this way it is into Abhinavagupta’s Monistic YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 10

hoped that my essay serves as an introduction As Silburn points out, this unifying basis was to both the text and the Trika-Kaula tradition in the Sāṃkhya -Yoga system. Ādiśeṣa’s PS is which it arises. By tracing the history of this essentially a Sāmkhya text overlaid with tradition, and by analyzing its fusion of Vaiṣṇava theology. It borrows the classic philosophy and practice in the context of Sāmkhya dualism of contentless consciousness tantric sādhana, I hope to provide an (puruṣa) and materiality (prakṛti), while illuminating glimpse into one of the most reframing it in the context of Viśiṣṭādvaita. gifted minds in the history of Indian civilization. The Trika-kaula as a Tradition of experience (anubhavasampradāya) Contextualizing The Text While Abhinavagupta’s PS is clearly an As a guide for this voyage into the uncharted adaptation of this earlier text, we would be realm of Tantric practice, we will follow the unwise to follow Chatterji’s lead in labeling it map drawn by Abhinavagupta in his condensed as “only the Ādhāra-Kārikās with a few text, the Paramārthasāra (PS). In 105 ārya- alterations here and there.” In fact, only a ghaṭa verses, this cryptic and highly codified quarter of Abhinavagupta’s 105 verses directly text details the fourfold path (upāya- parallel the Ādiśeṣa text. The remaining three- catuṣṭayam) to realization (śivattva). quarters are an expression of Abhinavagupta’s The first English rendering of this text own Trika-Kaula system and have no direct appeared in 1910 in an article entitled “The counterpart in the older text. For this reason Paramarthasara of Abhinava-Gupta” by L. D. Abhinavagupta states that his purpose is not 1 Barnett. In the preface to this outdated yet simply to transcribe the Ādhārakārikās useful translation, Barnett writes that his verbatim, but to elucidate them in “accord with intention in publishing the PS is part of a the tenets of Trika-śaiva philosophy.”4 further project in proving that the “living faith of the majority of modern Tamils is in almost Interestingly, taking into account the frequent every respect...the same doctrine that was double intentionality of Tantric “twilight taught in Kashmir about the beginning of the 2 language” (sandhā-bhāṣā), this same verse can eleventh century by Abhinavagupta.” This also be understood to mean that Abhinavagupta argument for a connection between southern has written the PS “in accord with [his] yogic and northern śaiva traditions is clearly intuition of śaiva doctrine.” The crucial word in strengthened by the fact that Abhinavagupta’s the text is dṛṣṭi (√dṛś, “to see”). Chatterji work is based on an earlier southern text of the 3 translates it as a synonym of darśana, or same name. Interestingly, this sixth century philosophical system,5 while Barnett renders it text, also known as the Ādhārakārikā, is as “mystic vision.”6 Certainly, these are not authored by a South Indian Vaiṣṇavite Guru, mutually exclusive renderings, but rather Ādiśeṣa, known more popularly as Patañjali, equally valid and important translations of the legendary incarnation of Viṣṇu’s serpentine dṛṣṭi.7 Taken together, they reveal an essential companion and the famous author of multiple feature of Indian philosophy: namely, its direct important Sanaskritic works. That 8 th relation to direct experience (anubhava). In Abhinavagupta based his 10 -century śaiva other words, in the context of Indian text on this early work suggests not only that philosophizing, “spiritual vision” is often the there was a shared corpus of texts between the logical precursor to a “philosophical system”; North and South, but also a shared consequently, one’s own direct experience philosophical and practical basis among the (anubhava) is a necessary and logical numerous traditions then present in Kashmir. prerequisite to the writing of a philosophical

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treatise. Hence, we are to interpret Abhinavagupta, the apex and culmination of Abhinavagupta’s use of the word “dṛṣṭi” as a learning came through his “studies” with the conscious attempt to appropriate its Kaula guru, Śambhunāth. It was from this polyvalency. In other words, his intention is to teacher that Abhinavagupta received initiation show that his capacity to elucidate the into the esoteric Kula lineage. In this initiation principles of śaiva philosophy (darśana) resides he received the descent of power (śaktipāta) precisely in his own yogic perception (dṛṣṭi) which produced a condition of embodied attained through sādhana. liberation (jīvan-mukta).13

This interpretation would clearly be in line with Abhinavagupta’s own epistemological Regardless of the authenticity of this autobiographical account, the fact that views that direct experience (anubhava) forms Abhinavagupta is compelled to narrate it in his the apex of the three-fold means of correct magnum opus, the TĀ, suggests the prominent knowledge (pramāṇa), whose base is scripture 9 status of Tantric practice in his philosophical (āgama) and the word of the guru (yukti). thought. As if compelled to justify his Indeed, Abhinavagupta considers Tantra to be qualification for composing the TĀ, an a “tradition based on experience” authoritative synthesis of Tantric doctrine and (anubhavasampradāya).10 Thus, the practice, Abhinavagupta asserts that his significance of the third verse of the PS is not authority lay in the very fact that he is quite only that it establishes the text’s relation to an simply a product of Tantra. Tantra is not older scripture, but, more importantly, the something he learned solely from books, but is author’s own attainment.11 For this reason, a practice that radically conditioned his birth Abhinavagupta’s Trika-Kaula deserves to be and, later, produced his final enlightenment. In viewed not solely as fuel for the fires of other words, in no uncertain terms philosophical abstraction (tarkajvāla), but Abhinavagupta is stating, “This doctrine is not rather as a practical system “providing a viable simply something I have thought about; rather, means for the attainment of mokṣa.”12 it is a reality I have become.” Logically, then, his emphasis is not on providing intellectual Abhinavagupta as adhikārin stimulation, but on transmitting his own In the final chapters of his Tantrāloka, experience and knowledge (jñāna). For this Abhinavagupta narrates the special reason, he states clearly that his duty as a circumstances of his birth. Desiring to parent a teacher is to awaken his disciples.14 siddha, or perfected being, Abhinavagupta’s parents—Narasimhagupta and Vimalā— Ultimately, as Müller-Ortega, points out, performed an esoteric ritual. Consequently, Abhinavagupta’s teachings are to be seen as a when Abhinavagupta entered the world nine method of realization leading to a state in months later he was viewed not as an ordinary which one “becomes something that moves in child, but as a yoginībhū, a special child the Heart (hṛdayañgamībhūta)”.15 This state of conceived from the union of a siddha and a inner absorption is something that, as yoginī during the course of Tantric ritual. Due Abhinavagupta himself points out, transcends to the extraordinary circumstances of his birth the limits of language and for this reason the and the rich devotional environs of his scholar attempting an exegesis of the Trika- childhood, Abhinavagupta readily acquired Kaula, is bound to confront an intriguing mastery of a wide array of subjects ranging hermeneutical challenge. Addressing this from Buddhist doctrine to śaiva Tantra, to matter Müller-Ortega asks rhetorically: grammar and poetry. However, according to YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 12

not to practice sādhana, we are obligated Can we completely hope to understand nonetheless to be sensitive to the practice-based Abhinavagupta?...[In attempting do so] [W]e nuances of Abhinavagupta’s densely coded immediately encounter an important and central writings. cross-cultural perplexity. We have been using the term understand in its commonly accepted This is not to say that pure philosophical denotation: to have a thorough technical inquiry has no place in the PS for such a acquaintance with something. The term may be statement would be far from the truth. used in a stronger sense: Abhinavagupta Abhinavagupta’s stature in Indian history is distinguishes between an understanding that is primarily due to his great gift for verbal purely intellectual, and one gained from expression. In a way unparalleled by any one experiential knowledge. There is an important prior to him, he was able to formalize the sense in which to understand the Heart actually numerous esoteric streams of Tantra into a requires replicating the journey of return that is single, unified river of thought and practice. On the tantric sādhana: we must play Śiva’s game this grand achievement Kamalakar Mishra writes: to its most serious and hilarious conclusion, which is the unmasking of Śiva within Abhinavagupta presents the otherwise difficult 16 ourselves. philosophy of Tantra in a cogent and coherent way that makes the Tantric position logically As Müller-Ortega himself points, this type of and rationally acceptable. What is complex in radical understanding challenges the traditional Tantra becomes simple in his treatment; what paradigms of western scholarship. Still, the is esoteric and mystical becomes rationally scholar of Tantra ought not ignore the fact that understandable.18 much of Tantric thought stems from and is geared towards contemplative experiences. In Abhinavagupta’s cogent systematization stems other words, much of Tantric thought is from his own initiation and training in the properly classified as pertaining to the realms various lineages and philosophical schools of spiritual practice and its concomitant (sampradāya) of his time. In other words, experiences. Does this mean that we should Abhinavagupta’s philosophy is not the product accept Frits Staal’s bold assertion that to of a single line of thought; rather, it is a rich understand practice-based ritual traditions the synthesis of the multiple indoctrinations he scholar himself must learn the logic of its 17 pursued during the years of his own sādhana. In practice? Abhinavagupta’s unequivocal his person, the plethora of Tantric schools were answer would be “yes”. united through the intensity of his own critical insight and fused into a single system in which However, Abhinavagupta’s views would the practices and philosophical views of the perhaps not fare well in the post-enlightenment st various schools were grouped as a hierarchy of environs of 21 -century academia. The deeply ascending powers culminating with the esoteric entrenched demand for scholarly distance and branch of Āgamic Tantrism known now as objectivity perhaps does not allow for the kind Trika-Kaula, “The Family of the Triad”.19 And of full-bodied engagement that Abhinavagupta it was this ability to unify the plurality of demanded of his own students. However, the Śaivisms into a single doctrinal system that equally important demand for hermeneutical makes Abhinavagupta’s work so intriguing. accuracy necessitates a proper contextualizing Before his time, there was no single tradition. of Abhinavagupta’s system. In other words, Rather, as Alper has pointed out, there were although as scholars we may feel duty-bound only “a series of overlapping preceptorial lines, YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 13

and a plenitude of spiritual techniques available sādhana, one’s internal ascension is paralleled to each teacher.”20 Hence, it was through externally by initiation ( dīkṣā ) into scriptural Abhinavagupta’s teachings that these numerous traditions which claim to grant states of non- techniques and lineages were subsumed within dual awareness. Hence, in the external world a larger theoretical framework that embraced there is a plurality of teachings and spiritual them all. And it is this carefully crafted techniques. Yet, in the inner life of the sādhaka framework that is now commonly referred to as these distinctions are fused in a process of Kashmir Śaivism.21 Although, historically internal bodily ascension. speaking, there never was a Kashmir Śaivism, To understand the mechanisms of this the fact that scholars now look at the traditions ascension we must first come to grips with the of Kashmir as a unified whole is due largely to central philosophical systems embedded in the Abhinavagupta (perhaps, then, the appropriate PS and the principle tenets that undergird term would be “Abhinavagupta-ism”). For this Abhinavagupta’s thought. Constructing these reason no text better captures Abhinavagupta’s tenets as our boat, we will then be ready to gift-for-synthesis than the Paramārthasāra. A explore the vast, mysterious waters of sādhana careful study of this brief yet dense text enables that Abhinavagupta charts in the latter third of us to unpack the many levels of teachings and his treatise on the Quintessence of the Highest techniques he received and thereby appreciate Purpose. the way in which he fuses them into a single

Tantric “river”.22 The Tantric Streams Abhinavagupta’s Tantric Trika-Kaula ‘river- This introduction to the PS is intended to guide system’ is a careful re-channeling of four the reader through the multiple initiatory scriptural streams. One stream is the ancient streams that Abhinavagupta himself journeyed Āgamic Śaivism, itself fed by three smaller in the course of his sādhana. In this way we can tributaries based, respectively, on dualism come to see that these streams-of-revealed- (dvaita), dual-cum-non-dualism (dvaitādvaita), thought-and-practice were viewed by and non-dualism (advaita). A second stream is Abhinavagupta as ultimately united in a larger the Pratyabhijñā which receives its currents river-of-divine-consciousness that itself flows from both Āgamic waters and from the from and returns ever again into the infinite sea philosophical tributaries of Vedānta. The third of radical freedom. The key to successfully stream, the Spanda, is similar to the charting this voyage lies in identifying the PS Pratyabhijñā, in that while its source is the as a map for this most majestic of journeys. Āgamas it then branches off on a different This text’s purpose, as Abhinavagupta clearly course before being redirected by states, is to guide the aspirant through the Abhinavagupta. The fourth stream appears to ascending levels of consciousness until there is be fed not only by the Āgamas, but from the realization of one’s identity with the various sources ranging from Tamil Nādu in Highest Purpose (paramārtha). It is along this the South to Nepal in the North. This poly- route to the final destination that Tantric sourced stream-of-revelation is the Kaula aspirant, or sādhaka, ontologically encounters tradition with its emphasis on radical the various philosophical systems as inner antinomian practices (called “left-handed”, states of consciousness and being. In other vāmācāra) as a means to immediate salvation. words, in the initial stages of sādhana, when Of the many Kaula streams, there are two that one’s consciousness is still mired by dualistic flowed directly into Abhinavagupta’s system: thought patterns (dvaitavikalpa), the teachings the goddess-centered cults of the Krama and of the dualistic scriptures (dvaitāgama) are the Trika. Apparently, Abhinavagupta necessary. However, as one advances in experienced the Kaula waters as the most YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 14

satisfying, for he claimed the Kaula to be the elaborately explained by the Trika system pinnacle of all traditions. And of the many through the doctrine of the thirty-six evolutes streams that fed the Kaula system, he saw Trika or tattvas. The supreme reality—called as the greatest. In his words, Trika was to the Paramaśiva, Para Samvit, Caitanya—is pure Kaula as fragrance to a rose—its finest consciousness beyond the sphere of essence.23 Hence, Abhinavagupta proclaimed manifestation. In reference to its transcendent- his philosophy to be Trika-Kaulism. As we ness Abhinavagupta refers to the Absolute as have seen, this Trika-Kaula river results from the “thirty-seventh tattva” in the TĀ.25 Yet, this the confluence not just of the Trika and Kaula, transcendent principle is also the ocean of but from the Āgama, Pratyabhijñā, and Spanda consciousness out of which creation arises. For streams as well. unlike the Vedāntin conception of Brahman as static consciousness, the Trika Śaiva absolute Commencing The Journey into The highest embodies both consciousness (caitanya) and purpose dynamism or spanda-śakti. Acting as an inner pulse, the spanda-śakti unfolds the universe of The opening verse of the PS crystallizes the tattvas within the body of the absolute (PS 10). Trika śaivas’ paradoxical conception of the Hence, in the Trika schema, the transcendent Śiva, the Trika-Kaula Absolute. Here, contains the manifest. And even during the Abhinavagupta honors Śiva as the “one without time of cosmic manifestation, the supreme beginning” who “dwells manifoldly in secret principle (para-tattva) remains “free of places” as “the receptacle of all.”24 In other delusion, pure, peaceful and beyond creation words, for the Kaśmirī Tāntrikas, the Absolute and dissolution” (PS 11). is simultaneously one and many. Endowed with unlimited power (śakti), the Supreme Principle This capacity for internal self-manifestation is can manifest itself infinitely without losing its explained through a dialectic of illumination essential unity. For this reason, the universe, and reflection (prakāśa/vimarśa). Indeed, the though appearing divided, is really only the Absolute is characterized as being endowed flashing forth (ābhāsa) of the One. with these two principles (prakāśa-vimarśa- Abhinavagupta writes (PS 4-5): śakti). The Absolute embodies not only an This sphere ( aṇḍa, cosmic egg) ...is illuminating consciousness, but also a reflective brought forth by the Lord through the capacity for self-knowledge that plays out on bestowal of his innate power and might. all levels of manifestation. At the cosmogonic This universe with its succession of level, prakāśa is the first tattva, the śivatattva, manifold bodies, organs and worlds is and vimarśa is the second, the śaktitattva. within these spheres; and therein is the These two, śiva and śakti, are understood to be enjoyer, the embodied Śiva who assumes the Lord (īśvara) and his consort, devī. In the condition of creatures. Tantric cosmogonic schemes the union of Śiva and Śakti gives rise to creation; and in a In other words Śiva contains within Himself philosophical context the union of these two the ability to manifest distinctions within unity principles is the fusing of a knowing agent (bhedābheda). Yet, just as a crystal remains (pramātṛ) with the means of knowing untainted by the various hues it adopts, so the (pramāṇa) which necessitates the need for a Absolute remains one despite its appearance in source of objective knowledge (prameya). the form of “gods, humans, animals, and plant- Hence, in cosmogonic terms the prameya is the life” (PS 6). very universe itself, for the product of the union of śiva and śakti, prakāśa and vimarśa, pramātṛ The process of universal manifestation is and pramāṇa, is the additional thirty-four YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 15

tattvas that form the basis of objective important elements: the objects manifestation. (nagaragrāmādi), the reflections, and the mirror itself (darpaṇa). The relationship between them The key to understanding Trika-Kaula reveals both the fundamental principles of discourse is to realize that the prakāśa-vimarśa prakāśa and vimarśa and the key to dialectic plays out at all levels of reality. understanding śaiva yoga. The mirror itself is Another way to say this is that each of the Śiva, or pure illumination (prakāśa). Possessing lower tattvas incorporates within itself those within itself the capacity for revelation tattvas that precede it. Hence, even the lowest (vimarśa), the mirror contains a variety of tattvas, the elemental substances (pañca- reflected images. In terms of epistemology, mahābhūta), contain within themselves the these images are the prameya. The fact of their essence of the tattvas from even the most subtle reflection, which is the means of their being stages of creation. Hence, the principle of perceived—hence known—, is the pramāṇa, illumination (prakāśa) and self-reflection and the mirror is the metaphorical knower (vimarśa) are present at all levels of creation. (pramātṛ). In other words, all objects (prameyas) are constituted of prakāśa and vimarśa and for this What is the relationship between the three? The reason Abhinavagupta claims that the knower, answer to this question is more nuanced than it the means of knowing, and the object known first appears. On a surface level, the reflected comprise a triune Self. It is in this spirit that the images appear distinct both from one another Tantras state that there is nothing that is not and from the mirror. In other words, according Śiva.26 Hence, the world itself, when properly to conventional reality, one would consider the understood becomes a basis for mystical knower, the known, and means of knowing all realization. Indeed, the higher states of sādhana distinct. However, as Abhinavagupta states, are said to consist in the awareness that the conventional understanding has no basis at the world itself is composed of the bliss level of the Supreme Truth (PS 27). For this experienced in yogic samādhi.27 There is, in reason, the true relation of the three is stated to other words, no need to meditate in caves: the be one of inseparability (avibhāgin). highest realization can just as easily be Developing this theme of inseparability, apprehended while doing such mundane things Abhinavagupta goes on to equate the mirror as sipping chai (Indian tea). with the absolute consciousness of highest

Bhairava (vimalatama-parama-bhairava- Abhinavagupta gives a potent metaphor for this bodham) who, both in terms of the metaphor extrovertive samādhi in his comparison of the and Trika cosmology, is the supreme knower relationship of the universe to the absolute with (pramātṛ). that of reflected images to a mirror: Now, what is the relationship between Just as the images of a town, a village, and Bhairava and the universe? Abhinavagupta other objects reflected in a mirror appear answers that despite the appearance of being inseparable from the mirror yet appear distinct mutually apportioned and distinct both from one another and from the mirror, in (vibhaktamābhāti), the relationship of Bhairava the same way, arising from the absolute (pramātṛ) to the universe (prameya) and its consciousness of Para Bhairava, this universe, reflection (pramāṇa)—like that of the mirror to though inherently void of divisions, its objects—is one void of distinctions nevertheless appears internally apportioned and (vibhāgaśūnyam). In other words, from the distinct [from Para Bhairava] (PS 12-13). highest perspective, the trinity of epistemological and cosmological principles is In this multilayered metaphor there are three YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 16

a unity. Like the various forms of candy, which of ignorance comes to perceive Itself as a are but modifications of syrup, these three are wondrous diversity of subjects and objects.” In but modifications of the Supreme Self (PS 26). other words, at the level of the puruṣa-tattva, there is a perceived split between self and other. Bondage And Embodiment And at this stage there unfolds the twenty-four The purpose (prayojana) for writing the PS is material categories of the classical Sāmkhya clearly established by Abhinavagupta in the schema, beginning with prakṛti and progressing third verse where he explains that his treatise through the threefold psychic instrument (śāstra) is written in response to the pleas of a (antahkāraṇa)—intellect (buddhi), ego disciple caught in the “wheel of suffering that (ahaṃkāra), and mind (manas)—, the organs of begins with dwelling in the womb and ends knowledge (buddhīndriya)—the ear (śrotra), with death.” Living in a universe that is the skin (tvak) the eye (cakṣus), the tongue inherently devoid of distinctions, being the (rasana), and the nose (ghrāna)—, the organs of self-manifestation of omnipotent action (karmendrīya)—speech (vāk), hands consciousness, how then can there be an (pāni), feet (pāda), anus (payu), generative occasion for bondage? Abhinavagupta answers organ (upastha)—, the five subtle elements that this condition paradoxically arises as the (tanmātra)—sound (śabda), touch (sparśa), result of the absolute’s power of freedom color (mahas), taste (rasa) and smell (svātantrya-śakti). In other words, it is (gandha)—, and, lastly, the physical sphere precisely because Paramaśiva is unbounded (sthūla-viṣayas) constituted by the five material that He/She/It can assume the condition of elements (pañca-mahābhūtas)—sky (nabhas), bondage. wind (pavanas), fire (tejas), water (salila) and earth (pṛthvī) (PS 19-22). In terms of cosmic emanation, the cause of bondage arises at the level of the sixth tattva The result of this process is that consciousness (māyā-tattva). At this level, Consciousness is takes the form of a body (dehabhāva) (PS 23). said to assume the capacity of self-limitation In other words, according to the Trika, the final (saṅkocana) which makes possible the result of cosmic manifestation is embodiment. appearance of duality and multiplicity. The Hence, in this system, the body is both the māyā-tattva is itself composed of five sheaths product of creation and the receptacle of (kañcukas) which limit the functioning of the manifestation itself. Hence, the body contains five powers (pañca-śakti) of the Pure Order within itself each of the thirty-six tattvas, and (śuddhādhvan) (PS 16). What results is the for this reason reflects the structure of the formation of the ‘three taints’ (trimala) which universe.28 Consequently, the tattva schema is encase consciousness and transform it into a to be understood simultaneously as a map of limited soul (PS 24). the universe and of the human being--the two, in Tantric circles, being inseparable.29 This limited soul is the twelfth principle, the puruṣa-tattva. In verse sixteen Abhinavagupta As we will see below in my translation of refers to the puruṣa as a “fettered beast” who, Abhinavagupta’s Paramārthasāra, in the due to the influence of māyā, has contracted practices of Trika sādhana the homologies from the condition of pure consciousness between the universe and the body play out on (bodham) to that of a tainted soul (malinas). At several levels. According to Abhinavagupta’s this level of the cosmic hierarchy, the Supreme Śaivism, the body itself is not the cause of Self, “due to its associations with the darkness bondage. It is the final product of Paramaśiva’s expansive power (unmeṣa-śakti). The true YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 17

source of bondage is the malas which encase Consequently, the Trika sādhana system the finite soul (puruṣa, anu) in ignorance enjoins the combining of knowledge and action (avidyā) and create the experience of cyclical (jñāna-karma-samuccaya-vāda) as a means to existence or saṃsāra. In such a condition, the freedom. In defense of this position, the Trika limited soul, “like a spider with its web, spins defines the absolute as constituted of a triadic for itself a variegated pattern by means of power: will (icchā), knowledge (jñāna), and association with the body, breath, perception, action (kriyā). thought, knowledge and the expanse of ether” (PS 32). In other words, while governed by the The dimensions of sādhana malas, the tattvas are an apparent source of bondage: Trika theology describes this world as the self- manifestation of an omnipotent and dynamic When the multitude of tattvas are consciousness. Logically, then, as we have unagitated the Lord likewise appears still; seen, bondage is an impossibility, an illusion or likewise is He excited when they are so mirage. Yet, there is the experience of and bewildered when there is the state of suffering and consequently the need for a bewilderment. However, in actuality, from method (upāya) which brings about the the [perspective of the] Highest Truth He dissolving of the mirage of ignorance. Herein, is not these conditions (PS 38). enters the essential features of Tantra—an elaborate technology of self-release based on a The last line of the above verse is the key to science of the body (dehavidyā). Within this understanding the Trika conception of bondage. system, abstract philosophical inquiry as found It suggests, that ultimately, the entire notion of in the initial sections of the PS, forms part of limitation is a cosmic joke, or play (līla). In the the means to liberating knowledge (jñāna).31 In final analysis, Śiva is never bound, and in the other words, descriptions of the tattvas, the moment of this re-cognition (pratyabhijñā), the nature of the cosmogonic process, etc., serve sādhaka is awakened. At that point, the body not only to satisfy intellectual curiosities, but to becomes the temple of god (devagṛha) and finally produce an existential awakening and delusion is shattered. Then, there is the release. And this condition, the Tantras declare, condition of embodied liberation (jīvan-mukta). requires “active ritual participation leading the Hence, for the Trika śaivite, death is not a aspirant to experiential knowledge 30 prerequisite for final release (videha-mukta). (bhāvanajñāna).”32 Knowledge alone is necessary, for in the moment of awakening there is the Hence, for the initiated sādhaka, the PS is to be understanding that Śiva alone unfolds the understood not as representing a philosophical drama of bondage and release: stance to be agreed or disagreed with, but as a He (the sādhaka) would free his own Self guideline for acquiring experiential knowledge from bondage by means of the splendor of that was disseminated within guarded circles of the greatness of self-knowledge. Thus, the initiation and secrecy. Initiation was Supreme Śiva unfolds the drama understood to be the sine qua non of proper consisting of the wonders of bondage and textual exegesis, since it was only through this liberation. (PS 33). consecration that the malas could be removed.

Through dīkṣā came the descent of power Paradoxically, this moment of re-cognition, this (śaktipāta) which made possible the revelation condition of knowing, often requires ritual of the Self. “As the face is revealed in a practices (karman) to produce a condition of spotless mirror,” writes Abhinavagupta, “so purification in which pure knowledge can arise. This (Self) is revealed as light in the mind YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 18

purified by śaktipāta (PS 9).” including Timalsina, Dyckowski, Mishra and others. In particular, one ought to read the This initiatory transmission was believed to Tantrālokā and Tantrasāra in which awaken the aspirant’s own dormant power, the Abhinavagupta maps out the path to liberation kuṇḍalinī-śakti, which, when awakened arose as a fourfold means (upāyacatuśyayam) in through the central current (suṣumnā-nādi), which advanced ritual techniques are purifying the latent tendencies (samskāras) and understood to correspond to the sādhaka’s own uniting the sādhaka’s limited identity with that internal state of cognitive development. of cosmic identity situated at the crown of the Towards this end one can also reflect on the head in the sahāsrāra. This path of internal following translation of the Parmārthasāra, in ascension was called the upward yoga which I have attempted to capture both the (udmukhyayoga) and was considered the literal power and poetic sweetness of distinctive feature of the Kaula school. In Abhinavagupta’s reflections on the mythological terms, the upward path was the quintessence (sāra) of the highest (parama) upward face of Śiva’s five-faced icon (pañca- purpose (artha). While this brief text does not mukha-liñga). This path removed all ignorance provide the detail of other works by and established the sādhaka in the highest state Abhinavagupta, it nonetheless distills the of empowerment through the shredding of the essence of his spiritual brilliance. Practiced in malas: its own context, the Parmārthasāra is chanted as As the chaff surrounding the rice grain litany to a ritualized and meditative seems inseparable and yet is removed, so visualization practice through which the initiate this (=the trimala) is shed by the upward seeks to re-cognize her own identity as the yoga of the path of Śaivism (PS 18). highest purpose (for the objectivized “goal” is inevitably one’s own subjective “self” in Trika- For one to enter the path of upward yoga, the Kaulism). In this state of refined self-as- essential prerequisite was the meeting with a awareness, purpose (artha), aim (artha) and qualified master (satguru). Contact with the truth (artha) are all grounded in that Supreme teacher was understood to produce an Being who is one’s own self-of-self. With this alchemical process of transformation that awareness firmly established, the sādhaka liberated the disciple from all impurities (PS realizes that, indeed, “I alone am the Deity I 17). Under rare circumstances, the worship” (śivo’ham) empowerment received from the guru was so intense (atītivra-śaktipāta) it would produce (Dr. Jeffrey S. Lidke is Associate instant enlightenment and the sādhaka would Professor and chair of the Department of become “Śiva Himself” (PS 96). More often, Religion and Philosophy at Berry College. however, liberation occurred gradually (karma- He is a prolific writer on the yoga, theme of mukti) through “ascending the steps of the aesthetics, spirituality and Tantra. He is co- ladder [of tattvas]” (PS 97). editor for the Southeast Review of Asian For a fuller understanding of this process of Studies. This paper is a transformation and ascension one can benefit by turning to other revision of a previously unpublished draft texts, both primary and secondary. Quality of his M.A. thesis first submitted to the work in the field of Kashmir Śaivism is now University of California, Santa Barbara in quite established, thanks particularly to 1996. scholars like Alexis Sanderson and his kula in the UK, the many American scholars working in the field (Lawrence, White, Skora, Muller- Ortega) as well as a host of Indian paṇḍitas, YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 19

Figure 1. Sri Yantra, which represents the Art and Cosmology in India universe recursively Prof. Subhash Kak The iconic representation of the universe as the The best way to understand India is through its Sri Yantra (Figure 1) shows recursion most art and the cosmology. Textbook narratives clearly. First, the tripartite division into earth, often overlook the synthesizing principles that atmosphere, and the sun, which is mirrored in represent the grammar of Indian culture, and the individual by the body, the breath, and the they are much like the accounts of the six blind inner lamp of consciousness, is represented by people who encountering an elephant describe it three triangles. Second, within each triangle are as wall, spear, snake, tree, rope, and fan, lower hierarchical levels of two other triangles, respectively. of alternating opposing polarity that represents male and female principles. All together, this adds up to 9 triangles, which through their The three notions that underlie Indian culture overlaps constitute a total of 43 small triangles. are that of bandhu, paroksa, and yajña. Bandhu Right through the middle of this is the dot, the is the binding between the outer and the inner bindu that is Shiva, the Witness, or that makes it possible to know, and this is the Consciousness. Nature evolves according to law basis of the pervasive spirituality in India; (rta in Sanskrit), but it has a paradoxical paroksa is the recognition that the bandhu must relationship with the consciousness principle. lie outside of rational system, leading to the distinction between the ‘higher’ science of consciousness and the ‘lower’, rational Art associated with this conception must objective science; yajña is transformation that communicate recursion, paradox and the individual undergoes by participating in oppositions concerning ordinary experience of Vedic ‘ritual’ or any other creative process. The the universe. Aesthetics, as a philosophy of art, cosmology related to this framework is that of is best understood from the point of view of infinity and recursion across scale and time. dhvani, which communicates, by suggestion, the universals of the outer and inner worlds. Indian thought highlights the connections between these two worlds, and its art presents visions of the cosmos. Thus in Figure 2, a north Indian temple, recursion is expressed in terms of the YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 20

tower drawn to different scales on the The ritual is organized as sacred theatre that superstructure. engages the senses to facilitate an epiphany that represents an experiential ‘rebirth’. Great art has the same capacity, and often it is a part of ritual. Not only is the temple a work of art, so is the sculpture that goes into it, and the dance and music performed in its hallways, and the paintings that hang on its walls. One can contrast this with Western conceptions. The cosmology is finite, with God separate from the individual; art is best seen in the sterile atmosphere of the museum or the gallery.

General equivalences

The view that the arts belong to the domain of the sacred and that there is a connection between them is given most clearly in a famous passage in the Vishnudharmottara Purana in which the sage Markandeya instructs the king Vajra in the art of sculpture, teaching that to learn it one must first learn painting, dance, and music:

Figure 2. A north Indian temple showing Vajra: How should I make the forms of gods so recursion in its outer structural form that the image may always manifest the deity?

Within the temple, the manifestations of the Markandeya: He who does not know the canon Supreme Being are as the One and its many of painting (citrasutram) can never know the forms. There exists in them, for example, a canon of image-making (pratima lakshanam). hierarchical order of cardinal and peripheral images in relation to the centre, a balancing or pairing of polarities, and representation of the Vajra: Explain to me the canon of painting as temple as Mount Meru, the centre of the one who knows the canon of painting knows the universe. The polarities represented canon of image-making. iconographically related to female and male, asura (demon) and deva (god), left and right, Markandeya: It is very difficult to know the body and mind, and so on. Aesthetics is canon of painting without the canon of dance alamkara shastra, that is ornamentation of the (nritta shastra), for in both the world is to be central synthesizing principle by means of the represented. particular medium. The poet, kavi, is the inspired seer who sees the underlying vision Vajra: Explain to me the canon of dance and most clearly. Dance, painting, and sculpture, then you will speak about the canon of painting, just like poetry, have their canonical ideals, for one who knows the practice of the canon of which are the visual equivalents of meter, dance knows painting. rhyme, alliteration and the tropes of poetry. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 21

Markandeya: Dance is difficult to understand by one who is not acquainted with instrumental music (atodya).

Vajra: Speak about instrumental music and then you will speak about the canon of dance, because when the instrumental music is properly understood, one understands dance.

Markandeya: Without vocal music (gita) it is not possible to know instrumental music.

Vajra: Explain to me the canon of vocal music, because he, who knows the canon of vocal Figure 3. The number 108 in the distance from music, is the best of men who knows the earth to the sun and the moon everything. The number 108 represents the approximate Markandeya: Vocal music is to be understood distance from the earth to the sun and the moon as subject to recitation that may be done in two in sun and moon diameters, respectively. (The ways, prose (gadya) and verse (padya). Verse is diameter of the sun is also 108 times the in many meters. diameter of the earth, but that fact is not likely to have been known to the Vedic rishis.) This Some of the early meters range from the gayatri number of dance poses (karanas) given in the with 3 sections of 8 syllables (3 × 8 = 24) to Natya Shastra is also 108, as is the number of anushtubh (4 × 8 = 32), viraj (4 × 10 = 40), beads in a rosary (japamala). The ‘distance’ trishtubh (4 × 11 = 44), and jagati (4 × 12 = 48). between the body and the inner sun is also taken These appear to be connected to the to be 108, so that the number of joinings is 107. astronomical number 360, the number of civil Not surprisingly, the number of marmas in days in the year. There are also many other Ayurveda is 107. The total number of syllables more complex meters, with a less obvious in the Rigveda is taken to be 432,000, a number astronomical basis. related to 108.

To understand the principle behind the broader The number 360 is taken in the Ayurvedic texts equivalences of Indian art and its cosmology, it to be the number of bones in the developing is good to begin with the fire altars of the Vedic fetus, a number that fuses later into the 206 period that were themselves designed to bones of the adult. The centrality of this number represent astronomical (outer) as well as inner in Vedic ritual is stressed in the Shatapatha knowledge. An assumed equivalence between Brahmana. the outer and the inner cosmos is central to the conception of the temple, which is why numbers The primary Vedic number is three, such as 108 and 360 are important in its design. representing the tripartite division of the physical world into the earth, the atmosphere, and the sky and that of the person into the physical body, the pranas, and the inner sky.

The Vedic altars had an astronomical basis related to the reconciliation of the lunar and YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 22

solar years, which mirrors the reconciliation of Three different years were considered: (i) the female and male currents within the body nakshatra, or a year of 324 days (sometimes 324 and mind of the individual. The fire altars tithis) obtained by considering 12 months of 27 symbolized the universe and there were three days each, where this 27 is the ideal number of types of altars representing the earth, the space days in a lunar month; (ii) lunar, which is a and the sky. The altar for the earth was drawn as fraction more than 354 days (360 tithis); and circular, whereas the sky (or heaven) altar was (iii) solar, which is in excess of 365 days drawn as square. (between 371 and 372 tithis).

The fire altars were surrounded by 360 A well-known altar ritual says that altars should enclosing stones, of these 21 were around the be constructed in a sequence of 95, with earth altar, 78 around the space altar and 261 progressively increasing areas. The increase in around the sky altar. In other words, the earth, the area, by one unit yearly, in building the space, and the sky are symbolically assigned progressively larger fire altars is 48 tithis which the numbers 21, 78, and 261. Considering the is about equal to the intercalation required to earth/cosmos dichotomy, the two numbers are make the nakshatra year in tithis equal to the 21 and 339 since cosmos includes the space and solar year in tithis. But there is a residual excess the sky. which in 95 years adds up to 89 tithis; it appears that after this period such a correction was The main altar was built in five layers. The made. The 95 year cycle corresponds to the basic square shape was modified to several tropical year being equal to 365.24675 days. forms, such as falcon and turtle. These altars The cycles needed to harmonize various were built in five layers, of a thousand bricks of motions led to the concept of increasing periods specified shapes. The construction of these and world ages. altars required the solution to several geometric and algebraic problems. The number of syllables in the Rigveda confirms the textual references that the book was to represent a symbolic altar. According to various early texts, the number of syllables in the Rigveda is 432,000, which is the number of muhurtas in forty years. In reality the syllable count is somewhat less because certain syllables are supposed to be left unspoken. The organization of the Rigveda is also according to a plan, but that is a different story told in my book The Astronomical Code of the Rigveda.

0…………………………… The verse count of the Rigveda can be viewed as the number of sky days in forty years or 261 Two different kinds of bricks were used: the × 40 = 10,440, and the verse count of all the special and the ordinary. The total number of Vedas is 261 × 78 = 20,358. the special bricks used was 396, explained as 360 days of the year and the additional 36 days The Brahmanas and the Shulbasutras tell us of the intercalary month. Two kinds of day about the altar of chhandas and meters, so we counts: the solar day, and tithi, whose mean would expect that the total Rigvedic hymn value is the lunar year divided into 360 parts. count of 1017 and the group count of 216 have particular significance. Owing to the pervasive tripartite ideology of the Vedic books we YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 23

choose to view the hymn number as 339 × 3. built. During the ritual is installed a golden disc The tripartite ideology refers to the (rukma) with 21 knobs or hangings representing consideration of time in three divisions of past, the sun with a golden image of the purusha on present, and future and the consideration of it. The detailed ritual includes components that space in the three divisions of the northern would now be termed Shaivite, Vaishnava, or celestial hemisphere, the plane that is at right Shakta. In Nachiketa Agni, 21 bricks of gold are angle to the earth's axis, and the southern placed one top of the other in a form of celestial hemisphere. The number 339 is simply shivalinga. The disk of the rukma, which is the number of disks of the sun or the moon to placed in the navel of the altar on a lotus leaf is measure the path across the sky: π times 108 is in correspondence to the lotus emanating from approximately 339. The Rigvedic code then Vishnu’s navel which holds the universe. expresses a fundamental connection between Several bricks are named after goddesses, such the numbers 339 and 108. The numbers 108 and as the seven krittikas. 360 appear as the axis and the perimeter dimensions of the temple.

Temples and gods

The temple is considered in the image of the Cosmic Purusha, on whose body is displayed all creation in its materiality and movement. Paradoxically, the space of the Purusha (Rigveda 10.90) is in the sanctuary only ten fingers wide, although he pervades the earth.

The outer cosmos is expressed in terms of various connections between the temple structure and the motions of the sun, the moon, and the planets; the inner cosmos is represented Figure 5. Ganesha: elephant-headed, wise, with in terms of the divinity (universal mouse as his vehicle consciousness) in the womb of the temple and various levels of the superstructure that correspond to the states of consciousness. The The Hindu temple represents the Meru position of the gods in the Vastupurusha- mountain, the navel of the earth. It is the mandala within the temple is a symbolic representation of the cosmos both at the level of representation of the spatial projections of the the universe and the individual, making it cosmic Purusha in his body. There are other possible for the devotee to get inspired to iconic representations of sacred space, as in the achieve his own spiritual transformation. The Sri Yantra where the body’s three parts – purusha placed within the brick structure of the vagbhava, madhya, and mula – have recursive altar represents the consciousness principle structures within, that represent Vedic within the individual. It is like the relic within cosmology in a unique fashion. the stupa. The threshold to the inner sanctum is represented by the figure of Ganesha (Figure 5), who, like other divinities, symbolizes the The prototype of the temple is the Agnikshetra, transcendence of oppositions. the sacred ground on which the Vedic altars are built. The Agnikshetra is an oblong or trapezoidal area on which the fire altars are YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 24

The temple construction begins with the The Ashtadhyayi of Panini (5th century BC) Vastupurusha mandala, which is a yantra, mentions images. Ordinary images were called mostly divided into 64 (8 × 8) or 81 (9 × 9) pratikriti and the images for worship were squares, which are the seats of 45 divinities. called archa. Amongst other things we are told Brahma is at the centre, around him 12 squares that a toy horse is called ashvaka. (This means represent the Adityas, and in the outer circle are that the queen who lay down with the ashvaka 28 squares that represent the nakshatras. This in the Ashvamedha did not sleep with the dead mandala with its border is the place where the horse.) Deity images for sale were called motions of the sun and the moon and the planets Shivaka etc., but an archa of Shiva was just are reconciled. It is the Vastu in which the called Shiva. Patanjali mentions Shiva and decrepit, old Chyavana of the Rigveda 1.116.10 Skanda deities. There is also mention of the asks his sons to put him down so that he would worship of Vasudeva (Krishna). We are also become young again. Chyavana is the moon and told that some images could be moved and some Sukanya, whom he desires, is the sun. were immoveable. Panini also says that an archa was not to be sold and that there were people In the basic Vedic scheme the circle represents (priests) who obtained their livelihood by taking the earth and the square represents the heavens care of it. They also mention temples that were or the deity. But the altar or the temple, as a called prasadas. representation of the dynamism of the universe, requires a breaking of the symmetry of the square. As seen clearly in the agnichayana and other altar constructions, this is done in a variety of ways. Although the main altar might be square or its derivative, the overall sacred area is taken to be a departure from this shape. In particular, the temples to the goddess are drawn on a rectangular plan. In Shiva or Vishnu temples, which are square, change is represented by a play of diagonal lines. These diagonals are essentially kinetic and are therefore representative of movement and stress. They embody the time-factor in a composition.

The Hindu temple, as a conception of the astronomical frame of the universe, serves the same purpose as the Vedic altar, which reconciled the motions of the sun and the moon. The progressive complexity of the classical temple was inevitable given an attempt to bring in the cycles of the planets and other ideas of the yugas into the scheme. There was also further complexity related to the expansion of Shiva the tattvas within the temple. For example, in Shaivite temples we see the unmanifest Complementing the tradition of the Vedic ritual (Shivalinga) expand into the intermediate state was that of the munis and yogis who lived in of manifest-unmanifest (Sadashiva), and finally caves and performed austerities. From this into manifest (Mahesha). tradition arose the vihara, where the priests lived. The chaitya hall that also housed the YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 25

stupa may be seen as a development out of the If extraordinary experience is an epiphany, it agnichayana tradition where within the brick comes at the end of long preparation. In myth, structure of the altar was buried the rukma and we speak of the struggle between the asuras the golden man. (demons) and the devas (gods), but this struggle also occurs within the individual between his The gods are the entities that hold up the inner materialistic and acquisitive tendencies that are sky of the mind. There is the single Brahman or demonic, and those of sacrifice, compassion, Purusha, interpenetrating and transcending the and understanding that are divine. This struggle inner and the outer universes. But the is described as the churning of the ocean by the framework of the inner sky is held up by a gods and the demons as in Figure 7. On the axis variety of gods. The physical nature, governed rests the Goddess, who represents Nature. Note by laws, is the Goddess or Shakti. If Brahma is that the demons are shown with animal faces the deity of the astral world, Shiva is that of the since they represent our animal selves. physical world, and Vishnu that of the causal or the moral world. They each have a consort: Brahma’s is Sarasvati, the goddess of learning and the arts; Shiva’s is Parvati, the goddess of power, energy, and intuition; Vishnu’s is Lakshmi, the goddess of good fortune.

The gods themselves are interconnected. Brahma’s origin is from the lotus in Vishnu’s navel. Shiva is the god who subsumes all oppositions. He is the celibate, divine yogi, who is also the perfect husband to Parvati. He brings the world to an end by his dance, but he also Figure 7: The churning of the ocean creates the world. He is the heart of consciousness, the lord of all beings, the divine Our body sense is much stronger than the sense dancer. As Ardhanarishvara, he is half Shakti; of spirit. It is for this reason the asuras are as Harihara, he is half Vishnu. generally much stronger than the gods. The story goes that the gods have been defeated and Vishnu is the all-pervader, the primal person, they are dejected. At some point they go to without beginning or end. He is also known as Vishnu for help and he suggests that they should Narayana, with his abode in the waters. He is assist the asuras in the churning of the ocean of Hari, the golden-garbed one (like the Sun), and milk, out of which will appear the nectar of his mount is Garuda, the eagle. During the immortality that would help them subdue the periods in between dissolution and creation, he asuras. sleeps on the cosmic serpent Ananta (the endless). He wields in one of his hands the The gods and the demons got together and discus, Sudarshana, which represents time. His started churning the ocean with the Mount consort, Lakshmi, appeared out of the Churning Mandara as the axis and the snake Vasuki as the of the Ocean. Periodically, he descends to earth rope. The gods were at Vasuki’s tail while the as an avatara to battle evil. Two of the most demons were at his head. Vishnu appeared as a popular of these avataras are Rama and Krishna. tortoise to support the revolving mountain. As the churning went on, many gifts appeared including the moon which Shiva decided to use Churning of the ocean as an ornament on his head. Next came Dhanvantari, carrying a jar full of nectar. Next YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 26

arose Lakshmi, with her attendant elephants of The story of the love of the gopis is the story of the four quarters sitting on a lotus, a gift of the each devotee for God. Krishna performs the ocean. She went straight to Vishnu. rasa-lila, a dance, where mysteriously he is able to simultaneously dance with all the different The demons were dismayed that Lakshmi had gopis, which represents, no doubt, the mystery not come to them, and they stole the jar with the that the same One is able to inhabit the many. nectar that was in Dhanvantari’s hands. But before they could drink it, Vishnu created an illusion of the most beautiful woman, Mohini, and they were so bewitched by her that they did not notice that she took the cup from their hands and gave them to the gods to drink. By the time they knew what had happened the gods had become immortal. The demons drew their weapons and attacked but it was useless. The gods once again became rulers of the three worlds.

Dancing Krishna with his flute The asuric individual is doomed for he gets distracted by the illusory Mohini, whereas one Krishna, the flute player, is the spirit that who has higher ideals finds immortality and inhabits each one of us. The flute is the body, fame (Lakshmi). and the melody is the unfolding of our individual lives. The love of Radha for Krishna can never be fulfilled, since the individual is forever doomed to stay apart from the divine in Krishna’s dance ordinary experience.

Krishna’s pranks and the love that the cowgirls In the Mahabharata, Dhritarashtra is the ego, (gopis) have for him is the frame for much of Vidura is discriminating intelligence, the poetry, dance, and painting in India. As avatara Kauravas are the physical desires, Krishna is the of Vishnu, he is the narrator of the Vedic transcending atman, Arjuna is the empirical wisdom in the great dialogue of the Bhagavad atman; the higher faculties are the Pandavas, Gita. His cowherd stories are a take-off on his and the lower faculties are the Kauravas. The other name Gopala, which means the protector characters of the epics and the Puranas do not of the world as well as cowherd, for the root only act in the outer world; they play out our gauh means both earth and cow. own private battles. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 27

In the Ramayana, Sita is the intuition who has The Indian aesthetic in an age of war been abducted by the demon within, who must be set free by Rama, the inner sun. The demon, We live in an age of war fueled by conflicting representing the urge to dominate and possess, visions of reality. The mainstream cultural view has ten heads that represent the sense and action is of materialism in which consciousness is an organs of the body. In the struggle between the emergent process and we are primarily nothing asuras and the gods, Hanuman, representing the but our bodies. Perhaps because it belittles the human mind that has devotion, provides critical spirit, it is leaving many young with a sense of assistance. hopelessness. If there in nothing transcendent about life, then life may not be worth living. While some are choosing drugs or hedonism, others are rejecting rationality and joining cults. Religious leaders are stepping in with their own recipes to save the world from a soul-less hell. But their conceptions contradict each other, and although they rightly critique the materialistic paradigm for its disconnect with the spirit, they themselves remain focused on the body when they speak of everlasting life in paradise.

Because of the mechanization of life and the expectations raised by images with which we are bombarded by the media, many are choosing not to have a family, leading to a demographic crisis in the developed world at a time when the post-industrial service economy needs more workers and consumers, requiring vast numbers of immigrants from poorer countries. These are some of the elements leading to a clash of civilizations. The Indian way offers a different perspective. Figure 10. Harihara: Vishnu and Shiva as one Indian cosmology is not in conflict with science, although it does speak of the domain of spirit that lies beyond language and rational science. Although Vishnu and Shiva make their It makes claims regarding the nature of appearance generally in different situations consciousness and transcendent since their centrality is in different domains, states of awareness that are so extraordinary that they are also visualized in a unity, as Harihara if they should be validated by science, they (Figure 10). would change the way we conceive of reality.

The Indian approach to reality is to seek a Our collective history in recent decades has harmony that balances materiality with the tilted too much to material prosperity. The spirit. It is this harmony that is the main goal of Indian way is not to reject the body, but to find the artistic creation, and we see it expressed not a harmony between body and soul. To deal with only in the sacred arts, but also in music and the inevitable march of the machine and the dance. dangers of totalitarianism of one sort or another, it provides intimations of other layers of being that lead to compassion and self-control. It YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 28

opens up new vistas that shift the focus from Kak, S., 2000. The Astronomical Code of the being to becoming. Rgveda. Munshiram Manoharlal, New Delhi.

The Puranas have a charming story about how Kak, S., 2002. The Gods Within. Munshiram the gods came to become invincible, even Manoharlal, New Delhi. though they started out as the weaker party. Shukra, the priest to the asuras, discovered, Kak, S., 2002. The Asvamedha: The Rite and its through science, the secret of reviving persons Logic. Motilal Banarsidass, New Delhi. who had been killed in battle, and with this knowledge the asuras were able to subdue the gods. Brihaspati, who is the priest to the gods, Kak, S., 2003. The Prajna Sutra: Aphorisms of recruited his son, Kacha, for obtaining this Intuition. LSU, Baton Rouge. knowledge. Kacha presented himself to Shukra asking to be taken in as student. Even though he Kak, S., 2004. The Architecture of Knowledge. sensed danger in this, Shukra was helpless CRC/Motilal Banarsidass, New Delhi. because one cannot turn away anyone who is seeking instruction. Kak, S., 2005. Early Indian art and architecture. Migration and Diffusion, vol 6, 2005, pp. 6-27. Before long, Shukra’s daughter Devayani fell in love with Kacha. The asuras were alarmed and Kak, S. 2006. The axis and the perimeter of the they killed him on two occasions, but on his Hindu temple. Sangama, 2005/2006. daughter’s pleadings Shukra revived him. The third time the asuras not only killed him, but ground his body into powder and mixed it with (Prof Subhash Kak is a Regents Professor the wine that they offered to Shukra. When and a former Head at Computer Science Devayani found that Kacha was missing, she Department at Oklahoma State University at pleaded with her father for help and with his Still water who has made tremendous powers he found what had really happened. But contribution to Cryptography, Artificial this time he could not just revive Kacha within Neural Networks, and Quantum his belly because that would cause his own Information. He has also researched and death. He had to first teach him what the secret published widely in the field of Indology, of restoring life was so that when revived, he Ancient Astronomy, History of Science and would bring back the dead Shukra to life. This Philosophy of Science) done, Kacha returned with the secret knowledge to the gods, who again became ascendant.

The coming together of spiritual India and mechanical modernity is like the coming together of Kacha and Shukra that can only be good for all mankind. With wisdom, it should be possible for people, irrespective of their cultural and social background, to live together with compassion and harmony in pursuit of a way of life that values freedom and personal creativity.

References

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energy that denoted dynamism within the shell of perfect vacuum or shiva Physics versus metaphysics There union is signified by the fourth vowel which is realised as the eternal word by yogins ( Correspondence between Dr.Sisir Roy and of great spiritual accomplishment . Paranand Swami ) ववर्यदीकारसंर्युततं वीततहोत्र समक्ववतं अिदᴂ िु शसतं : Respected Swamiji, देव्र्या बीजं सवामर्मसािकं Niraj Kumar told me about you and your The void I.e. is comparable to quantum writings in the Newsletters.I am delighted to ह read some of your articles on Rhythm, cosmic vacuum Dance etc". र ् the fire or energy when unites with it I.e. I tried to communicate to you through gmail but after.a fraction of the chidakash or the it bounced. I requested Niraj to talk to you about conscious space been condensed is into the some matter related to 'vibration" or "spanda" form of energy . With nada which is a from scientific point of view which I have latent form of vibration this great tantrik already written in my last mail.. encryption has all the mystery of the power and process of the universal phenomena embedded Since vibration can not be thought of as a- in it . temporal or a-spatial and without the existence Instead of an insentient vacuum our ancient of the medium, we scientists face the problem seers conceptualized or realised the existence of understanding.I will be delighted if you of a conscious ether धिदंबरम who is capable of enlighten me in this regard. contracting himself in the form of energy or

Shakti and who further accounts for the process Warm regards, of spanda or creative divergence . Sisir roy

Swamiji: Respeced Swamiji,

I am delighted to get your Blessed self, response. However, the issue is precisely the

following : The problem of understanding lies with (1) The concept "spanda" seems to be a kind of the view point . The scientific process is purely "vibration " of "kincit chalan" a throbbing. This objective and quantitative it can hardly explain creates the phenomenal world. This has a any mystic,supernatural or extra spatial striking similarity with the concept of phenomena. A metaphysical perspective is fluctuation of quantum vacuum. deficit in quantitative inference and can be of a very little or no scientific authenticity . If a quantum physicist were also to be a gentleman Swamiji'reply of some mystic bent and vice versa both would There is an interesting resemblance between also like to go subjectively and qualitatively ancient orthodox energy definition of Spanda about this phenomenon . Let me give you a and your specification . We consider spanda as tantrik semiotic semblance of the quantum a sentient vibrant entity which pervades the or vacuum and an iota of electric charge that rather embraces the entire universal phenomena scientists discovered on it . In an absolute void , and at the same time transcends it . This is atemporal as you call it there is a very minute similar to the mind charge that quantum charge that accrues from the mystic process of physicists recently observed whin quantum shiva getting condensed as Shakti the primeval vacuum. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 30

हंतानंतस्फु रत्ता जर्यंतत जगतत सा शांकरी धिदाकाश . As per the notion of chidakash it स्पंदशक्तत: must pervade even quantum dot or quantum vacuum which as I figure out is the line of The author of spanada Karika defines spanda demarcation between actual and intellectual while felicitating it ,as shiva power of notion . Substance is added as the third oscillation . Now given that shiva is comparable condition since the original subtle notion of to quantum vacuum I.e the zone of zero ether is akin to what quantum science objectivity Shakti or to more precise spanda understands as quantum vacuum . We have a Shakti of shiva is the primordial divergent description of five gradations of subtlety in the creative impulse that manifests in the form of tantric canons .being the subtlest and most three conditionings viz Time ,space and pervasive ether is contained in solid substance continuum . I have added substance ,fluid,energy ,and dynamic manifestation of or वस्तु to this continuum because in our ancient nature the fifth form of Akash is called canons the infinite as subjective (धिदाकाश) or conscious ether .this is the consciousness has three fold conditioning twilight zone of mind matter juncture . or अनंत as conditioned in time is called eternity The gross ether as a part of the gross penta- or absolute time . Ananta can also be defined as dimensional phenomena ,the subtler ether as subjectively conscious quantum vacuum with subtler ether that pervades the rest of the four zero objectivity this on being conditioned in elements ,chittakash or the ether that pervades space is defined as अखण्ड or the spatial individual intelligence comprising substratum . The absolute universal principle as cognitive,volition,imaginative and self per the Upanishadic power and process of determining faculties . The subtle most or universal manifestation generates grosser chidakash or conscious material manifestation of ether ,air ,fire water ether exhibits similar characteristics of QV . If and earth and then pervades these in such a this धिदाकाश by any stroke of chance turns out manner that he interlaces these without any be also pervading quantum vacuum owing to actual modification . Then there is the process space transcendent nature of the both . Mind of divergence according the attributes of these and energy as the primordial building brick of five basic constituents of the universal the universal phenomena can be consistent from phenomena namely sound as that of the ether either perspective I.e physical as well spiritual . sound and touch as the attributes of air ,sound ,touch and sight of fire and sound ,touch ,sight Dr.Roy ,and taste as the four attributes of water . Why this fluctuation in vacuum ? We assume that Quantum Principle is valid Your hunch or let's call it intuitive everywhere - not only in phenomenal world. So insight just falls in with such notions in our according to Heisenberg Uncertainty principle, ancient revelations regarding spacetime there will be enormous fluctuation of energy continuum. besides these two the third during a very short period of time. "Substance- conditioning " of the absolute principle is also considered in our ancient Swami Ji's reply texts . Space or Akash in its subtle most form is not just a medium which might as well be Heisenberg is right in his own place but is this absent in the parlance of quantum vacuum but just an arbitrary behaviour of insentient matter the space transcendent subjectively conscious or the design of highly ingenious nature of the substratum . Shiva as the guru or supreme supreme being ? preceptor has been felicitated as व्र्योमवत ्व्र्याप्त The agency that accounts for this fluctuation or देह I.e. Manifesting as the omnipresent ether or let’s say spanda in the eternal still quietude of YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 31

the sentient ether or cidakash is in fact the But we do not really understand this process of Shiva manifesting as Shakti. This process? divergent outflux or spandanam is the second succession of modification, the first being the Swamiji's reply atman creating ether the second step is air or rit springing forth from the primordial ether. As I have said above your hunch just falls in with the Upanishadic dictum regarding the The nearest parallel of "quantum " in the power and process of the creation or let us say parlance of consciousness specially when it the manifestation of the universal phenomena . comes to subjective consciousness has been called sphota स्फोट in our metaphysics .Like …from this self I.e. Pure subjective energy, consciousness also propagates in the consciousness ether springs forth from the ether form of small units or packages termed air and from ether air ...... (tattiriya upanisad) as Quantas and sphota respectively .Ancient seers conceptualised this process as pertaining If the ether were to be compared to quantum to expressible word I.e either a syllable or word vacuum then the secondary manifestations air or or sentence . dynamism and energy follow . The " will to create " interlaces all the following varieties of grosser manifestation . As another Energy शक्तत in this context is defined as the Upanishad Antaryami Brahman goes ... “one power of consciousness that accounts for the who interlaces ether knows ether but whose relation of word with its meaning . This ether doesn't know ,one who indwells air who semblance leads us to the consistency of knows air but whom air knows not ...... ” quantum physics principles in the realm of consciousness . These are the ultimate postulations by our hoary seers in a parlance of mind matter relationship . Awareness as such manifests in the form of We must conceptualise matter as insentient and word and meaning which are known as nad नाद the underlying streamline of consciousness as pervading various gradations of subtlety and and बबदं ु (nada being the point of absolute grossness of matter and accounting for their convergence of collective word and Bindu the respective characteristics . These are based on point of absolute convergence of collective intuitive insight and not on scientific meaning ) .Eastern metaphysics emphasises observation therefore these are assimilated on the Nada aspect whereas modern science better through faith and devotion . focuses on the notion of Bindu, objectively though . Shri Aurobindo writes in his synthesis of yoga – “energy in the power and process of creation is matter and spirit in the power and process of creation is mind” . Off late there has been a sort Sisir Roy: of innovation in the post shankarite monism to ignore all other schools of thought as meant for (2) Concept of Quantum Vacuum : Various type less competent and extrovert aspirants . So all of fields are there and hence concept of space talks of insentient matter converting into living time is there. protoplasm stand refuted. The conscious substratum must be preconceived which before (3) My hunch is that space time itself is converting into dynamic perpetuation or spanda generated by this fluctuation. out of still a temporal void or vacuum excercises his own free will . YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 32

As per the Indian law of causation the effect स्वक्स्मन ्स्वात्म स्वशभत्तौ किर्यतत cannot supersede the cause so even with all its िरणीमाशशवांतं जग饍र्या reciprocations the objective phenomena cannot transcend the substratum which is the pure subjective consciousness Which as you define is हंतानंतस्फु रत्ता जर्यततजगतत सा a temporal and time transcendent entity . शांकरीस्पंदशक्तत: The expanse of the lords vision is same whether ( propitiatory verse of spand karika ) the universal phenomena is completely extant or it is when it is dormant in a seed form ,one Within the canvas of her own conscious canon on tantric metaphysics says .Hence the substratum she creates this universe analogy of the yolk of an egg or a womb . The consisting of thirty six elements from earth to Veda propound an intermediate stage that shiva . predates actual creation as hiranyagarbha or the golden womb . From the stand point of quantum physics it IS may be too early to conclude anything but from Hiranyagarbha manifested in the beginning The an eastern metaphysical perspective the divine creator of all beings and their lord . He will of the universal being accounts for this sustained the earth and the heavens ,to him do mystic phenomena of spanda . we offer oblations (rikveda)

This is the very nature of the lord but how can a When the a priori of creation is an existent complete and content being have any wish to entity we call it the golden womb or manifest or procreate? hiranyagarbha . When the ultimate is required to be pronounced as essenselessness or देवस्र्यैषस्वभावोर्यं आप्तकामकामस्र्य का स्पहृ ा nisvabhavata then we call it tathagata garbha . (Gaud padacharya ) But the basic idea is the same .

The maxim of the yolk of a peahen egg is popular among the Shaivites of Kashmir Sisir Roy: मर्यूरांडरसवर्यार्य: वर्यार्य: . All colourful beauty of the plumage tuft and feathers of a peacock are (4) May be here lies the mystery of "spanda". dormant in the yolk of its egg . Apparently it looks only a white colour less jelly with a lump (5) Concept of ända" or ëgg" principle is of yellow mass . Like wise within the considered in Indian Philosophy. quantum vacuum or perhaps the concept of QCD the chromodynamic blue print of I think it is a metaphor - like Hiranyagarbha or creation may be encrypted in a dormant "tathagatagarbha" in Lankavatar sutra. seed form . The quantum chromodynamics phenomena may be a projection of some more Sometimes I wonder why this metaphor of discreet design of future manifestation "garbha" or "womb" was introduced. embedded in the sub nuclear realms . The semiotics of a peahen egg just befits the context Can you enlighten me in these issues ? .

It would be a great break through if the string theory of electronic physics could be related to Swamiji's reply the ancient concept of सूत्रात्मा -a fine filament YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 33

of living energy or प्राण which pervades the modifications of a sentient ether or chidakash . No fluctuation or movement can ever exceed individual subtle body and the cosmic subtle the domain of their substratum hence these are body or hiranyagarbha . contained within it . This is where scientific advancement and mystic insights meet. I hope this philosophising is of some use to you My wavelength is more in tune with Upanishadic and tantrik thought therefore I Yours in the lord . defined aap as fluidity and matarishwa as dynamism.the primordial divergent flutter or Swami paranand tirth . spanda may be reflected in the phenomena that accounts for the manifestation of electrical

charge ( aap and matarishwa ) in quantum vacuum. Sisir Roy: The other day I was watching a video of group Swamiji could you please throw some light on discussion ,One eminent scientist called all this the 4th mantra of Isavasyasyopanisad and "spoof- physics " being construed to vindicate concept of ‘Maatrisva’. hackneyed metaphysics,This doesn't have to be so with ingenious scientists like you who also

have a bent for our metaphysical heritage . And therefore also trying to tie up the loose ends Swamiji’s explanation: accordingly . In this particular mantra of Isavasyasyopanisad, Yours in the lord Tamsin -within him , refers to the conscious and subjective space or chidakash. This concept Swami paranand tirth . falls in with the notion of quantum vacuum except that there is no scientific proof of its Sisir Roy: being a subjectively sentient entity as of now . There are two entities mentioned in this mantra Respected Swamiji, आप and मातररश्व instead of using the dictionary, meaning "water" I chose to define it I am delighted to get your response regarding as "fluidity "dynamic flow which is similar to the meaning of the word अप and मातररश्वा .we have two other Vedic mantras which rule out these two as insentient "maatarisva" in Mantra 4 of Isopanisad. material entities . One is from Brihadaranyaka it You say :vacuum is fluid dynamic. says ता आप ऐक्षत the waters cogitated and another mantra from rikveda containing the This is very interesting from the point of view term matarishwa which sayanacharya interprets of modern physics. as मातरर आकाशे श्वर्यतत श्वशसतत इतत In modern cosmology we say that the universe is originated from the fluctuation of Quantum (an entity which respires in the मातररश्वा vacuum. conscious ether ) Now when you say fluid dynamic : why you say The crux is that both fluidity or aap and fluid instead of saying simply space; dynamism or matarishwa are sentient YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 34

If we decompose this word into two parts : Fluid, as one of my dictionaries defines it is a maatri and svas ; substance subject to continuous deformation under some pressure or force . Vayu or spirit maatri is related to mother means measure. So has no form and flows continuously motivated we can say space is the substratum of measure by the power of will or action or knowledge or distance because unless there is measure or .ज्ञान इ楍छा and क्रिर्या , so I thought fluid and simply distance. you can not create any form. fluidity was more conveying . If one reflected on the first half of the mantra One can think of the principle of Maya at the very beginning also. Again the word maya is related to ma or to measure. Whenever you say तद्धावतो अवर्यावर्यत्र्येतत ततष्ठन ् it tells us about measure, it means limitation and hence illusion the fluctuation within the substratum of a static created about the ultimate reality. I read vaccum . An extra temporal displacement ! somewhere that "maatarisva" means space which breathes i.e. in our terminology we say I deliberately chose the term fluid or Fluidity fluctuation of space. because it denotes primordial movement in the still and stagnant ether or to be more precise the Why this fluctuation - because of the existence conscious ether .In the arcane tantrik ontology of Heisenberg uncertainty principle in quantum this is defined as Shakti tatvan. theory. The. Just movement cannot explain any supra According to this principle, during very short temporal displacement . duration of time, there will be huge fluctuation of energy which gives rise to the universe. This is more efficaciously explained in Pratyabhijna Hridayam as the Now very interesting question comes : Unfolding of universal phenomena within Whether space itself fluctuates or the existence her(while referring to chiti or chitshakti) own of certain kind of fluctuation of fluid, makes the domain which predates the manifestation of space fluctuation occur. time ,space and substance .

I will be delighted if you explain me why you The divine mother whom we adore as the power choose fluid. of consciousness spoke through the daughter of a Vedic seer in first person ..I flow like wind Warm regards, and generate the entire universe .अहमेववात इव sisir roy प्रवा륍र्यारभमाणा भुवनातन ववश्वा etc this a very inspiring suktam of rikveda called Devi suktam or at a suktam .

Swamiji: Some votaries of monism refer to this Shakti as maya or the innate beginingless delusive power Blessed self of the lord and also attribute the process. Of creation to her .this concept is presumably for the less gifted ones . Real vedantist do not reject I have also included the word : that precedes अप the universal as virtual or ephemeral but matarishwa . Both have "maintain that it is real till it appears so . A special type of dynamism is common I.e. A temporal displacement . YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 35

What I mean by "fluid or fluidity is the first dynamic to modification within धिदाकाश .

There is a reasoning of the order of subtlety and pervasiveness so space as such pervades all grosser manifestations too . So instead of space or Akash I enunciated fluidity as air or energy or spirit .The nearest parallel of quantum vacuum is eastern metaphysics . Movement according to QD is a tiny iota of energy which one scientist friend told me was discovered within the quantum vacuum . The entire power and process of creation from the absolute principle getting conditioned in the form of ether ,dynamic air or spirit, energy,plasma and finally the solid seems to be latently encrypted in the realm of sub nucleonic minuteness. In our previous communication we discussed the analogy and semblance of quantum chromodynamics and मर्यूरांडरसवर्यार्य: I.e. Maxim of a peahens egg.

Prana or energy i.e. The first manifestation of dynamism within a static shell as the mantra we are discussing signifies the first portion of the word सत्र्यम ्or truth I.e. सत ्which is ether and air or the invisible portion of the phenomena . The other half signifies the perceivable त्र्यत ् phenomena

Or fire ,water and earth. The unison of these two I.e. Subjective and objective portions of the universe ,according to our Upanishadic seers is the spiritual truth . Quantum physics as it were seems to be striving for this truth, in its own way though .

Yours in the lord

Swami Paranand tirth

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strong iron chains, shops selling items for puja in temples, restaurants… 1. I remember how much I had wanted to visit Rishikesh among other cities. Having lived away from India for a number of years, I had developed a longing to connect in ways I hadn’t when I was a child. The old wanderlust was stirred. The sacred was dancing. When I arrived in New Delhi, I insisted that we three travel north. Father loved to travel, but said no, take mother with you. Mother was keen. We left RISHIKESH: SILENT HUM OF MYSTERY by train one early morning. Ambika Talwar The train pulled out of Delhi station, then With mild trepidation and a touch of stalled, stopping amid fields on the outskirts of enthusiasm, I agreed to write this story of my the capital. After a long hour or so torrid with visit to Rishikesh some years ago. Moments smells and indecision, mother and I decided to after, it dawned on me that I could not recall leave the train. We found a three-wheeler, much about my days in this august city of which took us to the bus stop. We reached in pilgrimage. I smiled: so typical of me to jump time for a bus towards Haridwar – the door of into the ring of fire and wonder what happened. God. Déjà vu! Not the visit but my habit. Getting to Rishikesh would be a further So I called my mother in Delhi to ask what she challenge as finding a connecting bus was not recalled. Neither of us could even remember easy. If I recall, we hired a taxi. In the eyes of which year it was. But she tuned in and started the divine, what would it matter how one arrives talking. She recalled how fantastic it was that at a destination. We might each have been told we had the darshan of Swami Chidananand at some point that the destination Saraswati of the Divine Life Society where we is never the goal. It is something far deeper, had stayed. She said this was a rare thing. I even if ephemeral; far more poignant, even if it recalled being ushered into the visiting room. I calls for one to be stoic. remember Swamiji looking at us, gesturing that I move closer…then handing me some Journey is a celebration, a dance. It is an pamphlets. answer to a longing of the soul; is this not Love in all its forms? I smile for I recall being told Mother spoke about the Lakshman jhoola, the there is something inherently poetic about being temples along the River Ganga, the Shiva Indian, that we philosophize every little human statue. Then she laughed saying, “That’s it. No act or decision. I have not a response. more.” I imagine mountaintops with wild hair of rishis and Mothers fanning the winds. For in the head Visions came alive in my mind’s eye in an is glowing fire. eidetic train of possibilities. The statues made by a German devotee for the temple, life size statue of Vishnu and Lakshmi in Vaikuntha, the 2. divine Ganga where boats are held in place by Our supposed destination is this beautiful place by the foothills of the Himalayas. We are here. I YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 37

feel physically charged and excited and wish to Here we meet with Swamiji. Poignant moments begin my exploration of holy sites and treasures. with him go with us to the narrow streets with I think: I am here! I am in Rishikesh. vendors lined by temples and the river. How beautiful is this Ganga; this is the closest I have come to our ancient waters, source of a trillion Call me not tourist legends. in search of fame take away even my name how fast she flows or what’s a river for? cold rush of wild knowledge Mother and I arrive at the ashram and are shown our room. One rule mother lives by is to clean Mother and I cross the Lakshman Jhoola to find the room and bathroom wherever we land. This narrow lanes, which take us to other temples. is a way of making it one’s own. My eagerness On this first day, we stay close to the central to get out borders on impatience. Finally, we areas. But we get a wondrous view of Lord leave and walk down the slope back towards Shiva’s statue, elegant against the blue sky. For and past the langar (where food is served) to the a short while, we walk along the river and watch temple of many rooms. The main room of this the boats neatly secured. They have to be, for temple has statues of Mother Durga and the water rushes at a phenomenal speed. Saraswati, each made by a devotee, who had Swimming in here is prohibited. One has to lived here for many years. These are exquisite enter the wild river holding on tightly to the expressions of love. How the lines flow with chains held fast by solid iron posts, or be carried dynamic grace of the Mothers who are the away by her passionate love. center and electrifier of all cosmic expressions.

The goal of journey is to find this mystery. There is much more to discover. I remember the smell of the air lifting over the river. Then I wonder. How does a mythos smell As we go towards the gate, a man from the — one that has cradled a civilization for temple calls out to us. We wait. He comes to us thousands of years; one whose breath has calling, “Ma.” He wants to know who I am, spawned poetic utterances now caught amid where I am from. I feel a little shy. He brings sheaves of paper; one that continues to inspire us mangoes, my favorite fruit. His name is right thinking, one that will maintain harmony Dushrath. I feel his adoration and wonder about and love? I am caught in these musings again it. As we are leaving, he will hold the fruit for even as another devastating war is causing a us. He tells us he had run away from his home deeper wound in our hearts and psyches and all in Orissa when he was around 14 years. life is on the alert. Difficult life struggles led him here where he found peace and self. Thinking about this moment itself triggers my body with vibrations, which have become now very frequent in the How shall a timeless mythos continue to birth last two years. its new ways in the midst of uncertainty of the survival of the very species that is causing its own demise? It is not that wisdom cannot pour through technological junk as is surely evident From here, we head out to town. Up and across by the diverse texts on the web, myriad the road, we visit the main center of the Society. impressions on film, and ways of calculations. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 38

It is the alacrity with which corrupt beings washing space, which is all wet and not so distort the power of innovation that speeds our clean. Unfortunately, in the framework of end and that of all species on this glorious making spiritual offerings, people have planet. forgotten the care of the vehicle. Surely, body, mind and spirit must be in balance and equally cared for. Also the body outside us, the places Somehow, mother and I find our way to a we inhabit. But that cleaning is always left to temple within the confines of a wall, which is someone else. painted pink and decorated with a swastika at regular intervals. The boundary wall has the familiar look of cracks and mildew, which is 3. somehow comforting. We enter through the white metal gate contained by a white wall with black night lingers in dreams a scalloped arch above which is a sign in let birds waken us Devanagari that says Mani Kuta Dham. The temple inside is lovely, but I cannot recall who to majesty the deities were. What I remember are small altars on the first floor with different deities: we of loving kindness love our diversity of form, symbol, and attributes. The silence is sweet; we can always hear the birds. We linger inside here for quite a After a strange waking this morning, I step out while. to find a bowl of fruit left at the door. Dushrath and his devotion touch me endlessly.

When we depart, we see a young man sitting beside one of the swastikas. Curious, I begin a When we leave to eat at the langar, he waits to conversation with this traveler from Israel in walk us there. He is again excited to see me and search of his peace. I ask how it feels to sit by a he shows us around the temple again. He shows swastika. He smiles for he understands its real us his simple home. He assures me he will bring meaning, a meaning distorted for gain and loss, me mangoes the following day. My heart falls a meaning that reveals ultimately harmony of for we have little time in Rishikesh. the cosmos through the revolution of planets around the sun in a symbol also of the Celts, the Greeks, and indigenous peoples of the We begin our adventure along the slopes of Americas. these winding roads amid mountains whose mystery and rough beauty invites. We stop at a jewelry shop and buy sphatic malas, necklaces Mother and I walk back to the ashram. She has made of naturally occurring crystal beads. We hurt her foot, so we go slowly. stop at another shop where sits a palmist. He asks to see my palm and then makes a strange look. Mother says, we should never show our As we return to the ashram, Dushrath who had hands to strangers. I don’t know what he saw; I been awaiting our return brings us the luscious know what I am becoming. golden mangoes. He walks us back to our room and waits outside to walk us to the langar. Inside here, we find plates and sit on the floor. We continue to discover more and more temples We are served rice and vegetables. When we along the river and among rich diversity of eat, we wash our plates in the community trees, wild fauna. It is their breath too that YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 39

marks the walls of temples and houses. It is not rhythmic lapping of water by the shore and the uncommon to see a new baby tree growing out rushing of the river remind us to honor the of a wall. Innocently life expresses itself in silence. Mother and I wonder at the difficulties myriad places where the sun shines. of our family: why is this condition that of the whole world? But it is how it is, they say. Our last evening here is wrought with bitter- Far from the main walkway amid huge trees and sweetness as we reflect on passages in our lives houses are small kutiyas here and there: homes and what yet we desire, so be fulfilled. for the sadhus whose lives are spent in prayer. Somehow holiness or a sense of it marks the bricks that walls are made of. Holy men with I celebrate her whose eyes hint at sorrow in dreadlocks and red turbans sit on steps or by tea moments when she hides behind a smile, or a stalls; homeless men lie in slumber and rest song she has not sung. under trees. Temple bells stir the air every so often. I hope commerce will not take away the rhythm of this town. 4. We carry our bags outside where Dushrath Local folk watch us with interest. Dressed much waits loyally for us. I feel already his sadness at like them, I wonder why we are the cynosure of our leaving. He insists on carrying all our bags curious eyes. The chatter of people walking and down the street to the bus-stand. He wants to temple chanting weave the spaces in which we know when we will return. His tear-spiked eyes walk. won’t let go of my gaze. I do not know which Mother he saw in me. But my feeling of my own journey is renewed. I am reminded of earlier times when I felt Mother in me. we are that weave always that sings mango is an endless road in chaos… kissed in this air a riot of colors a pathless path splinters hearts of devotion… open amid falling fruit. remnants of time

point to that other road We visit old temples, some are part of old houses: it is a way of life. Just as there is no where points meet separation in true heart and mind and we (might) live in concert with nature, so, too, in a luminous eye. the old structures that emerge one from the other set amid trees. Yes, monkeys, too, are part of the scenario. How can we be separate! In a few hours we reach Haridwar. Such a crowded place that walking through the milling throng is a challenge I have not experienced in River Ganga calls us to sit beside her, but not some years. In a tiny cab jostling on narrow for long. Once evening changes color, we are roads in this ancient Door to God, we reach the asked to move away from the edges. The river. Of course, it is the river where much YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 40

happens. In a few hours will be the aarti, SHE dances in me waving of lights and song for blessings. and I must be as She

wild whole potent. This time, I hold the chains and step into the river. Delicious and cold, the water wraps round my slender body, I breathe in a taste of glory, I Love is devotion! feel sated now. Cold water always brings me to serenity. All around me people are waving these lights made with small atta diyas placed on betel leaves. These are then let go of in the In just three days, a bite of Himalayan air brings river, so the blessings go far and wide. Bones me to my hidden self. The wild hair of the of the cremated are cast in the water further sages will carry secrets of such seeds in the downstream. Mine are still living bones, but wind, the fire, the water, and the mountain gaze living and dying are concurrent streams. stolid in the far distance. My hair wet with Ganga water frames my face as I gaze at the flames winking in a diya on a plate of sown betel leaves in my hands. I come out of the water soaked to the head to the bone, wave my own aarti and set my desires free into the river. What will I manifest? What will I become? Now 20 years later when I look through the internet for pictures of places my mother and I 5. had visited, I find a wild splash of tourist attractions: water sports, beautiful yoga on the I return with longing for all that was stirred in banks, eateries. Someone got it wrong. me, the days when Mother sang her primordial Someone wrote the wrong contracts. I wish sounds into the weaves of my body, perhaps, some of these are just tags for other places, that before I was born — this body in my own Rishikesh still has a magic that lured me into its mother’s womb taking on her unsung songs. My heart. own mother who traveled with me to these shores has been wistful with her own longing. That which is pristine must remain so. What if we erase old symbols, icons, and tools and began anew! What if we return to our primal sound and sense and rewrite our longings (Ambika Talwar is an author, healer, teacher with the silent hum of light and dark: pure, and an artist and is currently teaching ineluctable, and ubiquitous. English in Cypress College) dark eyes of Dushrath remind I am kiss of simplicity interwoven mesh of timeless wonder;

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obeisance and puja. After coming out of the temple complex, we could see a bird’s eye view of the whole town from above which was overwhelming. We left the place and soon we were again on the highway to Madurai. On the both sides of the road there was plenty of greenery and a maze of mango and coconut orchards. We reached the city at about 1pm and checked in a grand old hotel called Germanus. It’s old world charm with heavy wooden furniture looked magnificent. After taking lunch, and some rest at about 4pm, we left for renowned Meenakshi Travelogue: Southern Sojourn (Part temple. Since it was the Diwali day in TN, 2..concluding part) markets were closed, roads almost empty and so Dr. Girdharilal Kaw we reached the temple in just few minutes itself.

Next day, 18th October, we started late at 9am, as we had to go to Madurai which was not very far off from here. The road was a state highway, in good condition though single track only. After about 35 kms.we deviated from the highway to reach a small town/ village called Shanmugham. Here we were supposed to visit a Kartikeya temple on a hilltop. Our vehicle reached right up to the foothill and from here one could see the temple sitting majestically atop the mountain. Firstly, we thought that women-folk may not be able to make it to the top. A series of flights of stairs, about 80 to 100, Here we met our guide, Mr. Manikaran, just paved with stones were awe- inspiring. All of us near the main entrance gate only. Mr. managed to reach the top and were rewarded Manikaran was a tall pleasant young man, with with a magnificent view of the temple. It was a the mannerisms of a Tollywood hero. His sweet smaller temple but with artistically carved Tamil-tainted Hindi mixed with a spatter of pillars of the Mandapam and sanctum English sounded fantastic. He took us directly to sanctorum carved out of the rock itself was a South Gopuram , the main entrance to the wonderful sight. The temple is dedicated to temple complex. This is the highest tower of the Kartikeya, the six-faced son of Shiva and complex and in structure and design almost parvati. Kartikeya is called Subramanyam, similar to the ones in Ranganathanswamy Shanmughan and Murugan also in south India. temple, only that it is 164 ft tall. There are 14 The whole hill is actually a solid rock in which Gopurams in all, five major ones and nine a small temple along with the deity has been smaller ones. Meenakshi temple is dedicated to carved out. Afterwards the mandapas must have Bhagwati Meenakshi, a form of Parvati, though been added to it. Here, again we were the only there is her consort Sundreshwar also in the visitors and therefore had good time seeing temple. Actually, according to a legend they everything in the complex. Moreover we were were married here in presence of Vishnu in an allowed to enter the Garbha-Greh also and offer elaborate ritual. YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 42

exquisite carvings of imaginary animals, one of them called Yali, which is horse, lion and crocodile all in one. One cannot but feel proud of our glorious past after seeing such artistic excellence. The Prakrama surrounding the sanctum of Meenakshi is called Killikondu mandapam- meaning bird cage corridor. This space was once used to keep green parrots in cages who were trained to utter the name of Meenakshi all the time. Madurai, second largest city of Tamil Nadu, is The central shrine of the complex is of rightly proud of this great temple, and is famous Meenakshi and the emerald hued black stone as a city of temples, city of cotton and city of image of deity is exceedingly beautiful. festivals. After leaving the temple complex we Sundreshwar shrine is also nearby only and both planned to shop for cotton clothes. Although temples have large gold plated Kalashas or most of the shops were closed, we did manage Vimanam. Since there was not much of a rush to find a lone handloom shop at some distance we could go around all the corridors of the from there. All of us did some shopping and temple complex along with our guide without returned to our hotel. There, the whole staff of much of difficulty. The tall sculpture of Lord the hotel was waiting for us to celebrate Diwali Ganesha just outside of Sundreshwar temple, as it was already late in evening. It was a good carved out of a single stone was a wonderful gathering, and almost all of us enjoyed the sight. This is called Mukurny Vinayakar here. cracker bursting and other pranks. Then after a good dinner we retired to our rooms, with the instructions that tomorrow we would be leaving for Rameshwaram. But since on 19th it was their Diwali day, we would have a brief Laxmi pooja in one of the halls of the hotel at 7.30am . Thus on 19th morning all of us were ready by 7.30 am and gathered in a small conference hall, named Davy Hall. Our manager had arranged all the puja material and sweets etc. already. One Mr. Bhat performed the puja in a brief but traditional manner and all of us took the blessings and Prasadam from him. After that we had our breakfast and started our journey towards Rameshwaram. The road was reasonably good though narrow and one way. After driving for about three hours one could smell Rameshwaram in the peculiar fishy smell of the sea breeze. After here the road was mostly accosted by sea on both sides. The golden vimanams can be seen from a great Rameshwaram area is actually a strip of an distance in the west through apertures of two elongated land mass more of the shape of a tail, towers, again an architectural marvel. The pushing into the Bay of Bengal dividing it into corridors or Prakramas on both sides are Gulf of Mannar and Palk bay. At one place the endowed with majestic stone pillars with two seas meet through a narrow channel called YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 43

Pamban channel, over which a huge new road From here we took the same road towards the bridge has been constructed, where all the sea. Just after few kms only there was one tourists get down for few minutes to have a nice ancient, though small temple of Hanuman on view of the canal as well as the fishing boats. the road side only, called Panch-Mukhi But more than anything else, one can see a hanuman. railway bridge almost just under and parallel to the higher up Road Bridge. The peculiarity of the railway bridge is that it is a folding bridge which can be folded up at times to allow the ships and ferries to navigate from one to other side. This bridge was constructed during British rule and was an engineering marvel of its own time. Soon after we reached our Hotel, namely Royal Park Hotel just on the roadside. Rameshwaram is a small town/village made famous by its world renowned Temple and a great personality of recent times, Dr.A.P.J. Abdul Kalam. After taking a little rest, we had a traditional lunch and prepared to leave for sight-seeing. Our first destination was the newly constructed mausoleum of our most popular ex-president, Dr. A.P.J.Kalam. The place was not very far from our hotel and we reached there in hardly We spent little time here also and saw the few minutes. Actually Rameshwaram has only floating stones, rather rocks, supposed to have one main road which ends blindly at the sea been used for Setu Samduram. Again we drove shore. And all the small villages, hamlets and about ten kms.on the same road to reach a place the main town also are situated on both sides of called Danushkodi, which is the last point of this road itself. The mausoleum has a simple but this tail of the land mass, locally called Lanka elegant theme befitting the personality of the border. This hamlet has nice beaches on both great man. In fact, I have no hesitation in calling sides which attracts tourist all along the year. him a modern day Maharishi, who was an We also enjoyed the sea breeze and shallow embodiment of the philosophy of Karmayoga, waters for some time and finally returned not only in his life, but in death also. He is towards the main town for Rameshwaram easily the brightest son of Bharat Mata in the Temple. last century. Popularly known as the missile man of India, he was a scientist by profession, but he lived a life full of simplicity, hard work and incessant teaching. He was a born teacher, who enjoyed teaching young minds wherever he got the opportunity. In fact he died while teaching something in a town of Gowhati only. Surprisingly the place was quite busy, and just a round of the complex which is not very big took more than one hour. The clean, calm, sober and serene atmosphere of the place was soothing, to But in the way, we visited two smaller temples say the least. called Vibhishan Temple and Ram-Jaroka temple. Vibhishan temple is supposed to be the place where Vibhishan, the rebellious and pious YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 44

brother of Ravana was given the abhisheka now-a-days a statue of Hanuman is also before inducting him in the Ram-Sena. The installed. Rama also declared that devotees shall Rama-Jaroka temple is situated on a small first worship the one from Kailasha and then the hilltop called Ganthamanthanam Parvatham- the one made by Sitaji. And even today , the highest point in Rameshwaram- where a foot- sequence of puja is in the same manner. Shiva print of Lord Rama in front of a chakra (wheel), was very pleased with Rama’s worship and is worshipped by devotees. appeared himself along with Uma and proclaimed that whosoever takes a bath at Danushkodi and then worships Shivlingam here shall be absolved of all the sins. The place where the Lingam was installed and worshipped was known those days as Ganthanam, but afterwards because of Ramalingam became famous as Rameshwaram- the master of Rama. The present temple was built in 12th century by Pandya kings. Even Sri- Lankan kings also contributed to the shrine generously that time .Since then Temple has been renovated, extended and decorated many a times. The major contribution being of After spending some time at both the places Sethupathy kings from 16th to 18th century. we proceeded straight towards the main These days there are lots of security measures Rameshwaram Temple. But somewhere in the and checks to be followed to enter the main town we did locate the ancestral house of Dr. complex. It is a huge complex, consisting of Kalam, where his extended family is living even three major corridors or Parikramas. But, what today. It was a wonderful feeling. impresses and mesmerizes a visitor are rows Rameshwaram Temple is a famous shaivite as and rows of majestic stone pillars on both sides well as vaishnav temple of India. It is one of the of the corridors. 12 holy Jyotirlingas. According to the legend, it is an ancient temple directly linked to the victory of Rama over Ravana. It is said that Rama was uncomfortable after killing Ravana- a Brahmin- and thus tainted with brahmhatya. At Rameshwaram, he met saint Agastya who advised him to perform the pooja of Shiva in the form of Shivlinga according to Agama Tradition. Rama asked Hanuman to bring a Shiv-Linga from Mount Kailasha, and Agastya Rishi fixed an auspicious day for the stipulated pooja. But Hanuman could not return on that day. Meanwhile, Sita The sculpting of the pillars is very artistic in had made a Shiva Lingam of sand and it was Nayakar style as in Meenakshi temple. decided to perform the puja of the same lingam. Probably, the pillars are more than two Since Rama performed the puja of Lingam it is thousands in number. The ceiling also is called Ramalingam also. Afterwards, when exuding grandeur in great scale. After walking hanuman reached with two Shivlingas, Rama down the parikramas we reached a place where asked him to install one on the north side of the we were told are 22 Kundas representing all the main lingam and second at the entrance, where YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 45

holy waters of Bharat Desha. A devotee is is probably the greatest Shaiva temple in TN. supposed to have a bath in each of them starting This is the birth place of the sculpture and from Agni-Kunda- the sea of Danushkodi. But bronze image representation of lord Shiva as the due to the paucity of time and other reasons cosmic dancer- Nataraja- a Tamillian concept most of us had to be content with a spray of and motif in Chola art that has since become water from the kunda supposed to be the notable as a symbol of Hinduism and has mixture of all of them. After this ritual we again inspired postures of Bharata Natyam. Nataraja joined a long serpentine line for the final dances to the rhythm of Om- Pranava Mantra, Darshana. These days the devotees can have called Anand Tandava. The temple complex is the darshana and worship the Shivalinga from spread on a huge area of more than forty six distance only. Shivlingam is a small one and acres. There are ten holy tanks in the complex, from a distance of few meters it looks even the most sacred of them being called as smaller. The other Shivlingam remains behind Shivganga. The complex enshrines all the three the curtain at the time of darshana. Trinities- Brahma, Vishnu and Rudra a rarity of sorts. There are four entrance towers or It was already late in the evening, and we Gopurams, all 135 ft tall, and the deity Nataraja proceeded straight to our hotel for dinner and is depicted on the South Tower, as nataraja is rest. We were informed that the next day would supposed to dance facing south. be the longest journey of the tour, as we have to reach Puducherry in the evening, and thus The temple has been built in 9th century by should start early in the morning. Chola kings and afterwards extended and th th renovated by other kings also up to 16 century. Next day, on 20 October, we started early just After Cholas, the significant contribution has after the breakfast, and had some refreshments been of the Sethupathy Kings. A very famous after about three hours of drive at some roadside Natyajali festival is celebrated here on every eating place. By around 1 pm we reached the Shivratri. Actually, it is believed that Shiva and famous city of Thanjavur and planned to have Parvati compete for dance here. The main the lunch break here. Thanjavur is famous for Gabha-Greha has an idol of Nataraja, which is its style of paintings and many temples. But the mesmerizingly beautiful- a finest example of renowned Brehdeshwara temple is the biggest temple art. and endowed with exquisite architecture. The temple is dedicated to Lord Shiva. The temple has been built by a great Chola king, namely Raja Raja Chola from 1003—to 1010 AD. This place is a UNESCO world heritage site. Unfortunately, we could not visit the temple as it was closed for afternoon break and we had no time to wait because of the long distance ahead. We did see its huge fortified walls and within which a monumental temple with its majestic Vimana or Kalash standing proudly at 198ft height. After having our lunch there, we drove straight Just nearby there is a small but wonderful shrine to the city of Chidambaram, again a big city of of Devi Shivakama Sundari- a form of Uma. Tamil Nadu very well known for its Thillai Surprisingly, we saw a small shrine dedicated to Nataraja Temple. The place was once called Chitragupta also here, which is not a usual Thillaivanam, because of forests of Thillai trees. accompaniment of Shiva temples. Thillai is a species of mangrove trees growing at We left Chidambaram late in the afternoon, and many places near sea shores in TN. This temple drove straight towards Puducherry. The last YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 46

stretch of the road was very congested and we structure and have to view it from a distance or reached our hotel in Puducherry late in the a place called “view Point”. Only the people evening. who have booked for the meditation sessions

st have to enter at specific times. We were told On Saturday, 21 October, we started at about 9 that there is a large meditation hall inside called am and left for Auroville. It was not far off and the Inner Chamber. The four main pillars which we reached in less than half an hour. The place support the inner chamber have been placed at is a vast area of wasteland turned into a leafy the four main directions of the compass and are green lawns, orchards and shady environment. symbolic of four aspects of the Mother Godess Apart from this garden like ambience, there is as described by Aurobindo. an edifice of spiritual significance called Matrumandir, which was our destination . After returning from the Matrumandir we visited the souvenir shops near the office Our vehicle had to be parked somewhere near complex and all of us purchased some titbits the office complex and from there it was a 15 and around 1pm we returned to our hotel for minutes walk up to the place. For the people lunch and some rest. who cannot walk down they have their own vehicles for this stretch. Before embarking on In the afternoon we again left for sightseeing the walk visitors are shown a video in a hall, and our first stop was a church called Sacred explaining Shri Aurobindo’s philosophy, Heart Basilica. It had a classical Gothic Aurovilla and other relevant information about architecture and a beautiful and clean ambience the place. Most of our people left by a special around it. From here we went to Aurobindo vehicle and three of us walked down the Ashram- the main attraction of Puducherry. distance. Just before reaching near the place we This ashram is the seat of a spiritual community saw a very aged and majestic Banyan tree with where disciples practice a particular form of hundreds of adventitious roots acting as its meditation and yoga called integral yoga, physical as well as nutritional support. devised by Aurobindo himself. He reached this place in 1910 from west Bengal along with four Matrumandir can be seen from a distance as it is of his companions and they started living in a built in a large open space called Peace. The small two room place, where they started their structure was started in 1971 by the Mother of meditation regularly. Slowly the number of Arbindo Ashram and could be completed only disciples increased and the need for the bigger in 2008, long after her demise. This unique place also was fulfilled. structure is in the form of a huge sphere, surrounded by twelve petals. The whole dome is It was in 1926, when The Mother came to live covered by golden discs which reflect the here for good that Aurobindo decided to sunlight to give it a peculiar radiance. withdraw from the public view and the management fell in the hands of mother. The Mother of the Ashram was a French citizen born to an Egyptian Jewish mother and Turkish Jewish father and named Mirra Alfassa, who had some spiritual visions and experiences right from her childhood. She came to Pondicherry in 1914, 1920 and finally in 1926 to settle in the Ashram. She managed the Ashram right up to her demise in 1978. Aurobindo passed away almost suddenly in 1951 only. At present the Ashram is located in the midst of a high end The residential area, a very simple building but with casual visitors are not allowed to enter the so calm, clean and serene atmosphere that one YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 47

cannot but feel at peace there. The main shrine Now it was the time to head for our last is a Samadhi consisting of a white marble destination, Rock beach of Puducherry. The structure which holds in two separate chambers whole beach has a beautiful and clean walkway the physical remains of Aurobindo and Mother, which was very busy as it was a weekend which is always covered with flowers in a tree evening. We also walked down the walkway for shaded courtyard. about a km. or so, as the visitors are not allowed to go down towards the shore which is full of huge crimson and blackish rocks. The sea was also a bit rough but the breeze of the Bay of Bengal was enjoyable especially when you have fresh popcorn to munch upon. Almost at the end of the walkway we saw one black granite statue of Gandhiji surrounded by a white canopy. From there we went directly to our hotel as it was already late in the evening. On Saturday 22nd Oct. we started at 8.30am and just after two hours we were nearing the coastal city of Mahabalipuram. We were told that there are many historical monuments in this city and we Disciples and visitors pay their respects to both would be visiting most important of them by making a Parikrama (circumambulation) of today. Soon we reached the first site called the Samadhi. Apart from the Samadhi the whole Panch Ratha, located just on the road side only. courtyard is laden with beautiful flower beds This is a recently excavated site (about sixty which adds to the serene and spiritual years) which has five monuments in a row and atmosphere here. After paying our respects at now named after five Pandavas, though there is Samadhi we had round of the Ashram building no known historical or mythological connection which houses many relics of Aurobindo’s life. to them. This is finest example of Monolithic The most interesting part of the building is the architecture in the shape of processional book store which contains the books written by chariots built in first half of seventh century and about Aurobindo and his Yoga. We spent (around 630), built by early Pallava kings. some time there and purchased a few books These temples are not chariots but stationary before we left for our next destination. monuments. On the southern end is the biggest Not very far from the Ashram is a unique Hand- monument called Dharamaraja/ Yudhishtra made paper factory. Here workers manufacture temple is about 36ft. tall monolith with paper from rags and they readily accepted to exquisite sculptures of gods, goddesses, loins, demonstrate to us the whole process which crocodiles and other animals. Even on the outer takes place in only one large hall. Paper is then side of the temple we see beautiful sculptures of dyed and various designs are made on it before Ardhanareshwara, Harihara, Brahma, Bhairva it is sent to shopping outlet, which also is in the and even Nataraja. It clearly shows the respect premises only. All of us went there and and faith in all the traditions of Hindu thought at purchased few articles of hand-made paper that time. There is one decipherable inscription which were delightfully colored and designed. also mentioning the name of Narsimhavarman- 1, an early Pallava king. From here we went to a famous Vinayak Temple located in a crowded street. It did not Next temple is called Bhima Ratha. It is a take much of a time to have the Darshana and massive structure but seems incomplete. Parikrama of the deity. Needless to say that none of these temples are living temples today as most of the deities are withered or even missing. Arjuna ratha looks YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 48

most beautiful as the outer walls are carved into small Varah Temple at the basement with boar panels with fourteen exquisite sculptures like 4 sculpture, which has been recently excavated. Dwarpalas, Vishnu, A Rishi, Murugan, Shiva with Nandi and some human figures. A massive loin and Nandi are on each side of the Ratha.

Another small temple is also a Shiva temple but the third one between the two is a reclining Vishnu temple (Anantshayi Vishnu) while as Just north to the previous one is Droupadi Ratha the walls carved into a series of loins and a small, just 11by 11ft with a beautiful slanting Nandis. Near the compound wall there is a roof. Sculptures of loins and elephants are monolithic sculpture of a partly carved and conspicuous, but the shrine deity is missing. partly sculpted lion with an open mouth, as if Outer walls show Durga reliefs, very delicately guarding the whole complex. carved.The last Ratha is named after Nakula and Sahdev and seems incomplete and the other Again at a distance of just few kms.only, we statues are also not very clear. A huge standing reached a site of few other monuments of very elephant is on the north east of this monument. large significance. The most spectacular of these is called by various names as Arjuna From here at a distance of a few kms.only was Penance; Decent of Ganges and Bhagirath the famous Sea shore temple, called so because Penance. This is a massive carved creation on of its location. This temple also is a recent find two huge granite boulders. This is supposed to only. In fact, the two tier compound wall with be of mid-seventh century. Arjuna has been more than fifty sitting Nandis carved on top of it shown in a posture of Dhruma yoga i.e., has been laid bare only after the recent tsunami standing on one leg only in an emaciated but a of 2004. This is a Shiva temple along with two calm and meditating condition. There are a host smaller temples and open halls, gateways etc. of gods, goddesses sages and Dronacharya on spread on a large area. The main temple is 60 ft one side, as if coming for a darshana. There are tall, a structural temple built of blocks of many carvings of humans, animals, birds and granite. The inscriptions here indicate its date as reptiles as well. Between the two boulders and 700 t0 728 AD, in the reign of Rajasimha. The their carvings is a very enchanting figure of temple complex is a Unisco world heritage site, flowing Ganga vertically from above. This is the main temple faces east. Its garbha greha supposed to be the largest bas relief work on the (santum sanctorum) enshrines Main deity of rocks in the world, with the dimensions of Shiva linga with a small mandapa and a little 27mts by 9mts. As with the name there are space for circumambulation (Parikrama) also. A various legends about the whole work. The most bas relief of Shiva, Parvati, Karikeya and popular and accepted one is that Arjuna is doing Ganesha with Brahma and Vishnu on the sides Penance for getting a weapon from Gods to win completes the picture. In front of the temple is a the wars of Good over Evil. According to Bali Peetham (Sacrificial Altar) and there is a another legend Arjuna is doing it for decent of YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 49

Ganges on earth. Another legend accepts the The last site we saw was a huge boulder main figure as Bhagirath Rishi doing penance standing very precariously on another huge and for the decent of Ganges. But, whatever the slanting rock for many centuries or probably difference of opinions there may be about these thousands of years. The locals call it by a funny facts there is a unanimous view that the carvings name of Krishna Butter Ball, probably because are of very high artistic category and are in a the surrounding sites are related to Krishna very good shape even after a period of about Story. 1500 years. From there we left for lunch in a local restaurant and enjoyed our last South Indian meal of this tour. In the afternoon we left for Chennai. In Chennai, it was raining and thus our programme of visiting a beach was shelved and we went to a huge shopping mall to while away our time and do some last minute shopping. Late in the evening we had a light dinner in some eatery and proceeded to airport for our late night flight

(Dr G.L Kaw is a medical practitioner based in Gandhinagar Gujarat with an avid interest in history, philosophy, classical Just adjacent to the aforementioned site is Sanskrit and Persian literature) another ancient site known as Krishna mandapa. This is a rock cut sophisticate cave with large panels. The walls of the cave have beautiful carvings of rural life woven with Krishna Leela. One section shows Krishna holding Goverdhana Mountain on his finger, under which the people, animals and other cattle are taking shelter from a storm. Another noteworthy bas relief is showing a rural man milking a cow, with the calf standing, whom the cow is licking with a curved tongue. Just above this relief is Krishna playing flute with humans and animals listening intently to the melody.

Another site in the same area is called Panch

Pandava Mandapa or Pandav Chambers. The locals call the site as five bedrooms of Pandavas. This is an unfinished cave temple consisting of six pillars and five chambers. The outer pillars are finely carved and almost complete but the inner ones making the mandapa are incomplete as are the walls. We were told that this incompleteness of the cave temple has helped the architectural experts and researchers to understand better the process of carving and relief making of these ancient monuments. NEWSLETTER YOGTANTRAGAMA ISSN NO: 2454-888X Issue 11

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A brief glimpse at the activites of YTA

We at YTA believe in spreading the knowledge of arcance wisdom in a manner which would be relevant to contemporary times. With the blessings of our guru maharaj Swami Paranand Tirth ji we are planning to update our website and upload all our activities.

A link to all the ten previous 10 issues of the newsletter can be found in the website

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To reach to more number of aspirants spread allover the globe in the divine guidance of Swamiji we have started a google classroom where we discuss seminal texts in detail. Currently we are discussing Kshemraj’s Pratyabhijnahrdayam sutra by sutra. Each sutra is read its meaning disucssed and Swamiji in his exposiotion explains the essence of these verses and their metaphysical import.

This classroom also provides us an online discussion forum to connect with other aspirants. Interested aspirants may send their email id to us at [email protected] or [email protected]

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YOGTANTRAGAMA ISSN NO: 2454-888X

Published by : Rashneek Kher, 901-902, Iris Tower, Faridabad, Haryana, 121010 for YTA Inc. E-mail: [email protected] Logo: Manik Chawla

SWAMIJI PRAYING AT DIRAPHUK IN THE EARLY MORNING HOURS YOGTANTRAGAMA ISSN NO: 2454-888X | Issue11 53

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